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Source : Erudit

Elements For a Synergetic Approach to Peirce’s Semiotics and Adamczewski’s Linguistics

Cosculluela, Cécile M. (2009)

How legitimate is the use of numbers by linguistic operators zero, phase 1 and phase 2? It seems that these references to the philosophy of mathematics pose a problem that is inherently tied to the core of the science of linguistics. The Peircean categories of firstness, secondness and thirdness not ...

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Source : Erudit
Source : Erudit

L’oeuvre d’art comme Janus : l’expression et le style. Quelques remarques

Salabert, Pere (2008)

Au cours de la lecture de livres sur l’art ou sur la littérature, on rencontre souvent l’évocation de certaines qualités attribuées aux oeuvres ou même à leurs auteurs au moyen de termes généraux tels qu’expression ou style, sans pour autant nous offrir la possibilité de les ...

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Source : Erudit

What Anchors Semiosis : How Descartes Changed the Subject

Champagne, Marc (2008)

The goal of this article is twofold. First, it revises the historiographic partition proposed by John Deely in Four Ages of Understanding (2001) by arguing that the moment marking the beginning of philosophical Modernity has been vividly recorded in Descartes’ Meditations on First Philosophy with ...

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Source : Erudit

Peirce: Re-Staging the Sign in the Work of Art

Morris, Sharon (2013)

In the tradition of Rosalind Krauss’ essay “Notes on the Index” (1986) I want to re-posit the importance of the indexical status of the work of art and look at how Peirce’s views of aesthetics, his theory of the sign, and his version of phenomenology, can be useful to our understanding of ...

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Source : Erudit

« Un meilleur exemple est une photographie » (CP 2.320). De la valeur de la photographie comme exemple dans les écrits de C. S. Peirce sur le signe.

Brunet, François (2013)

This paper further develops a previous discussion on the role of photography in C.S. Peirce’s semiotic thinking, in order to identify more precisely the function of the photographic image, as an examplar in Peirce’s semiotic theory rather than a theoretical object in its own right. Based on ...

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Source : Erudit

One of Us? From Bad Taste to Empathy. Otherness in Contemporary Hollywood Movies

Boutang, Adrienne (2010)

This article aims to examine the way contemporary Hollywood cinema deals with the topic and the visual representation of disability. Its goal is to highlight the way social recognition of vulnerability and the requisite sensitivity involved in dealing with vulnerable bodies, have influenced recent ...

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Source : Erudit

“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni

Eugeni, Ruggero (2008)

This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. ...

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