Peirce's Semiotics and the Arts: Workshop with Francesco Bellucci and Frederik Stjernfelt
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11240%2F22%3A10453817" target="_blank" >RIV/00216208:11240/22:10453817 - isvavai.cz</a>
Výsledek na webu
<a href="http://inhumanity.eu/" target="_blank" >http://inhumanity.eu/</a>
DOI - Digital Object Identifier
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Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
Peirce's Semiotics and the Arts: Workshop with Francesco Bellucci and Frederik Stjernfelt
Popis výsledku v původním jazyce
Seminar at the Faculty of Humanities (Dec 14th, 16:00, Room 003): The Deduction of the Dicisign. A joint reading and commentary of a section of R 478, the first version that Peirce wrote of a Syllabus for his Lowell Lectures in the autumn of 1903. In this section Peirce set forth an argument designed to prove, or better to deduce, that propositions (here for the first time re-named "dicisigns" or "dicent sign"), provisionally defined as those sign that are capable of truth value, are necessarily compounded or complex entities. The deduction's conclusion is that a dicisign is a structured sign in which two parts are connected. In this joint reading and commentary, we reconstruct Peirce's argument, outline its connections to other aspects of his semiotic theory, and explore some important development of the theory that is based on its conclusions.Workshop at the Academy of Fine Arts in Prague (Dec 15th, 13:00, Main Lecture Hall): Two distinct talks on a common theme: Peirce's Semiotics and the ArtsBellucci: "Legisigns and Their Variants" In his celebrated Languages of Art (1968) Nelson Goodman said that any theory of art must do some preliminary work into the theory of symbols or notational systems. A crucial element in Goodman's theory of notation is the distinction between a "character" and the "instance" of a character. This, as Goodman recognizes, is the distinction made by Charles S. Peirce between a "type" sign and a "token" sign. In this talk, I will reconstruct the steps by means of which Peirce arrived at his type/token distinction in the context of his classification of signs.Stjernfelt: "Propositions and Artworks". Much work has been done using aspects of Peirce's semiotics in the analysis of artworks in literature, painting, film, etc., oftentimes using the icon-index-symbol distinction. Rarely, however, has the central role of propositions, or Dicisigns, in Peirce been acknowledged in the art context. Here, I shall address the role of propositions in artworks along two axes: 1) the role of Ingardian "quasi-propositions" in fictional artworks; 2) the deliberate modernist aesthetic strategy of weakening or blurring propositional structure of the artwork - which may coincidentally have contributed to the failing recognition of artistic propositions more generally.
Název v anglickém jazyce
Peirce's Semiotics and the Arts: Workshop with Francesco Bellucci and Frederik Stjernfelt
Popis výsledku anglicky
Seminar at the Faculty of Humanities (Dec 14th, 16:00, Room 003): The Deduction of the Dicisign. A joint reading and commentary of a section of R 478, the first version that Peirce wrote of a Syllabus for his Lowell Lectures in the autumn of 1903. In this section Peirce set forth an argument designed to prove, or better to deduce, that propositions (here for the first time re-named "dicisigns" or "dicent sign"), provisionally defined as those sign that are capable of truth value, are necessarily compounded or complex entities. The deduction's conclusion is that a dicisign is a structured sign in which two parts are connected. In this joint reading and commentary, we reconstruct Peirce's argument, outline its connections to other aspects of his semiotic theory, and explore some important development of the theory that is based on its conclusions.Workshop at the Academy of Fine Arts in Prague (Dec 15th, 13:00, Main Lecture Hall): Two distinct talks on a common theme: Peirce's Semiotics and the ArtsBellucci: "Legisigns and Their Variants" In his celebrated Languages of Art (1968) Nelson Goodman said that any theory of art must do some preliminary work into the theory of symbols or notational systems. A crucial element in Goodman's theory of notation is the distinction between a "character" and the "instance" of a character. This, as Goodman recognizes, is the distinction made by Charles S. Peirce between a "type" sign and a "token" sign. In this talk, I will reconstruct the steps by means of which Peirce arrived at his type/token distinction in the context of his classification of signs.Stjernfelt: "Propositions and Artworks". Much work has been done using aspects of Peirce's semiotics in the analysis of artworks in literature, painting, film, etc., oftentimes using the icon-index-symbol distinction. Rarely, however, has the central role of propositions, or Dicisigns, in Peirce been acknowledged in the art context. Here, I shall address the role of propositions in artworks along two axes: 1) the role of Ingardian "quasi-propositions" in fictional artworks; 2) the deliberate modernist aesthetic strategy of weakening or blurring propositional structure of the artwork - which may coincidentally have contributed to the failing recognition of artistic propositions more generally.
Klasifikace
Druh
W - Uspořádání workshopu
CEP obor
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OECD FORD obor
60401 - Arts, Art history
Návaznosti výsledku
Projekt
<a href="/cs/project/GA22-17984S" target="_blank" >GA22-17984S: Ohniskové obrazy: násilí a nelidskost v současném umění a mediální kultuře</a><br>
Návaznosti
P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)
Ostatní
Rok uplatnění
2022
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Údaje specifické pro druh výsledku
Místo konání akce
Prague
Stát konání akce
CZ - Česká republika
Datum zahájení akce
—
Datum ukončení akce
—
Celkový počet účastníků
2
Počet zahraničních účastníků
2
Typ akce podle státní přísl. účastníků
WRD - Celosvětová akce