Aesthetics, semiotics, and pragmatism -Basis to a Peircean philosophy of art. / Estética, pragmatismo &Semiótica: Bases para uma filosofia da arte peirceana

AUTOR(ES)
DATA DE PUBLICAÇÃO

2005

RESUMO

This thesis is a reflection about the work of art, found mainly in Charles Sanders Peirces Phenomenology, Semiotics, Aesthetics, and Pragmatism. In the following three chapters we will try to show evidence of an implicit Philosophy of Art in the authors vast work. First, in Phenomenology of Art, the problem of the nature of artwork surfaces through a discussion on the role of qualities, feeling, sensation, and cognition. This is set against the background of aesthetic experience (or how we experience artworks). Second, in Semiotics of Art, we discuss the relationship of the artwork (mainly paintings) and the object it represents. The place of artwork in the formation and transmission of ideas is presented through an analysis of some paintings (like the famous image of solitude Nighthawks, by North-American painter, Edward Hopper) ―emphasizing their signifying-communicative character. Aesthetic judgment is included in a debate about aesthetic standards, according to a Philosophy of criticism. Third, in Pragmatics of Art, we show, through an analysis of sign interpretants, or its significate effects, that the function of signs is to COMMUNICATE ideas. The way an artwork can take part in the growing process of Reasonableness is by satisfying this function. This point represents our major contribution to the research area Sign and Signification in the Medias, which is the core of our work.

ASSUNTO(S)

art c.s. peirce linguistica, letras e artes estética c.s. peirce semiotics pragmatismo arte arte - filosofia aesthetics pragmatism semiótica e as artes

ACESSO AO ARTIGO

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