Notas para uma semiótica da arte
belezas icônicas na poiesis cósmica
DOI:
https://doi.org/10.23925/2316-5278.2023v24i1:e61862Resumo
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.
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