AN EPISTEMOLOGICAL WAY OF EXEMPLIFYING ARTISTIC REALITIES: FROM A “TRANSFORMATIONAL” TO A “TRANSCENDENTAL” SIGN
AN EPISTEMOLOGICAL WAY OF EXEMPLIFYING ARTISTIC REALITIES: FROM A “TRANSFORMATIONAL” TO A “TRANSCENDENTAL” SIGN

Summary/Abstract: The present paper shall principally consider two essential theoretical para- digms in semiotics. The first belongs to the post-structural paradigm designated by Grei- mas and Fontanille, whereas the second belongs to a recent paradigm named existential semiotics, authored by Tarasti. This text shall, therefore, explore how “artistic realities” are created through two semiotic methods: structural and existential semiotics. Theoreti- cally speaking, there is a necessity to demonstrate how “semiotics of passions” enhanced such reality on the one hand and how existential semiotics asserted the notion of “action” and “performativity” through transcending signs on the other. I will focus on determined “classical” works of art (e.g., the position of figures, the text’s semiotic comprehension, etc.) to demonstrate the epistemological background of the artistic being (through their pre-, act, and post-signs). Semioticizing an artistic object of analysis (as known in existen- tial semiotics through the Dasein), in my opinion, can enhance either inducing or deduc- ing meaning. Such a sort of semioticizing exposes us to various sorts of “existential sta- tuses” of discussable “semiotic objects” (in our case, artworks). By exemplifying fictive characters in the arts in general, I aim to reach a specific meaning of each of them: a fact that theoretically justifies an epistemology of semiotics.

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