Perception already stylizes: On phenomenological semiotics
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Thomas Illum Hansen
His research interests include phenomenological philosophy, cognitive linguistics, and strategies of close-reading. His publications include
Tidens øje — Rummets blik. Om fænomenologisk litteraturteori (2001); andProcesorienteret litteraturpædagogik (2004).
Abstract
A new term has appeared within semiotics over the last few decades: ‘phenomenological semiotics.’ However, it can appear to be unclear how to understand this new compound term. Phenomenology is a multifarious philosophical movement that no longer allows itself to be used as a descriptive adjective. In this article, I will attempt to qualify the term. My starting point is that both Edmund Husserl, and the Polish philosopher Roman Ingarden are relevant for a preparation of a cognitive semiotics that does not eliminate the formation of the sign's phenomenological dimension. To illustrate this, I will stress the semiotic perspective within cognitive linguistics with basis in the triadic concept of the sign within the phenomenological tradition, and remain critical of, among others, Ronald Langacker and John R. Taylor's support for Ferdinand de Saussure's dyadic concept of the sign. To conclude, I will sketch a phenomenological theory of sign's effect on a literary semiotics with Virginia Woolf's novel Mrs. Dalloway as an example.
About the author
His research interests include phenomenological philosophy, cognitive linguistics, and strategies of close-reading. His publications include Tidens øje — Rummets blik. Om fænomenologisk litteraturteori (2001); and Procesorienteret litteraturpædagogik (2004).
© Walter de Gruyter
Articles in the same Issue
- Preface
- Diagramming narrative
- The new literary semiotics
- The contributions of Peirce's philosophical disciplines to literary studies
- Literary practice on the immediate horizon of the elaboration of semiotics: Peirce's meetings with a few great authors
- The making of the literary symbol: Taking note of Langer
- A semiotic definition of literary discourse
- Semiosis, art, and literature
- Story (first order predicate) logic
- Narrative self-reference in a literary comic: M.-A. Mathieu's L'Origine
- Recontextualizing character: Role-theoretic frameworks for narrative analysis
- Universal minds
- Reconsidering the unreliable narrator
- The cognitive import of the narrative schema
- The story turned upside down: Meaning effects linked to variations on narrative structure
- The role of Vorstellung in literary semantics
- Action between plot and discourse
- Perception already stylizes: On phenomenological semiotics
- Literary semiotics and cognitive semantics
- The representation of consciousness in language and fiction: A cognitive theory of enunciation
- Laughing brains: On the cognitive mechanisms and reproductive functions of mirth
Articles in the same Issue
- Preface
- Diagramming narrative
- The new literary semiotics
- The contributions of Peirce's philosophical disciplines to literary studies
- Literary practice on the immediate horizon of the elaboration of semiotics: Peirce's meetings with a few great authors
- The making of the literary symbol: Taking note of Langer
- A semiotic definition of literary discourse
- Semiosis, art, and literature
- Story (first order predicate) logic
- Narrative self-reference in a literary comic: M.-A. Mathieu's L'Origine
- Recontextualizing character: Role-theoretic frameworks for narrative analysis
- Universal minds
- Reconsidering the unreliable narrator
- The cognitive import of the narrative schema
- The story turned upside down: Meaning effects linked to variations on narrative structure
- The role of Vorstellung in literary semantics
- Action between plot and discourse
- Perception already stylizes: On phenomenological semiotics
- Literary semiotics and cognitive semantics
- The representation of consciousness in language and fiction: A cognitive theory of enunciation
- Laughing brains: On the cognitive mechanisms and reproductive functions of mirth
