Sémiotique, philosophie et véridiction : Essai contre l’amalgame de la signification et de la désignation
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Peter Marteinson
Abstract
This article challenges the ontological assumption that physical and logical methodologies are appropriate and sufficient for explaining communication. The author posits that contemporary semiotics tends toward oversimplification by naming and categorizing surface structures at the expense of exploring their relationships with semantical, cultural, and anthropological considerations. Marteinson suggests an existential semiotics should treat signs’ intensions (interpretants) differently from their extensions (objects), recalling the Stoics’, Augustine’s, and Kalinowski’s sense that signification, the representation of thought is, unlike designation, denoting things. Conclusion: an adequate semiotics must seek an understanding of semiosis through the interplay between these complementary, but fundamentally distinct, classes of representation.
Walter de Gruyter GmbH & Co. KG
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Articles in the same Issue
- Semiotic perspective of psychiatric diagnosis
- On the relation between sound and meaning in Hicks’ Snow Falling on Cedars
- The revised fundamental sign
- Maigre comme un hareng : ‘Miss Harriet’ de Guy de Maupassant
- Prosper Mérimée : Surface sémantique d’un récit
- A fuzzy approach to discourse topics
- Metonymy as a tool of cognition and representation: A natural language analysis
- Sémiotique, philosophie et véridiction : Essai contre l’amalgame de la signification et de la désignation
- Science in carnival: DNA and the iconic body
- A semiotics of human actions for wearable augmented reality interfaces
- The symbolosphere, conceptualization, language, and neo-dualism
- An assessment and application of structuralism and linguistics: A structuralist approach to ‘The Woman Who Fell From the Sky,’ a Native American creation myth
- Iconicity and indexicality: The body in Chinese art
- The Human Genome Project: An increasingly elusive ‘human nature’
- Body and space: Michael Chekhov’s notion of atmosphere as the means of creating space in theatre
- Eyes, mirror, light: History’s other lenses
