Choreographies of Landscape. Sally Ann Ness. Читать онлайн. Newlib. NEWLIB.NET

Автор: Sally Ann Ness
Издательство: Ingram
Серия: Dance and Performance Studies
Жанр произведения: Культурология
Год издания: 0
isbn: 9781785331176
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semeiotic, one must first understand what it means to claim that it is, as Peirce understood it to be, a sign.

      The particular rhetorically adapted characterization of the pragmaticist sign that I advance here is not one that has been stated previously in the terms employed, either by Peirce himself or by any of his interpreters. Some, admittedly, might find it controversial. Peirce, however, gave many definitions of the sign concept, allowing for some latitude on the subject. The relatively underdeveloped status of the rhetorical branch of Peirce’s semeiotic, I argue, allows for considerably more. In formulating the present definition, I have “rhetoricized” two definitions that come from Peirce’s later writings, neither of which was identified by him as specifically or particularly rhetorical in character. These were formulated in 1903 and 1906 respectively. Drawing on both of them, I define a pragmaticist sign, approached rhetorically, as “an agent of intelligent, or at least intelligible, relational movement.”

      The 1903 definition that inspires this rhetorical conceptualization was given in part of Peirce’s Syllabus, in an essay titled “Sundry Logical Conceptions” (EP2: 267–88). This “mature” definition of the sign, as it is sometimes called (EP2: 325), is phrased in the terms of Peirce’s ceno-pythagorean Universal Categories (EP2: 272), or “Universes of Experience,” as he eventually termed them (EP2: 435; 1908). In this definition, Peirce characterizes signs as “facts of Thirdness” (EP2: 272). As such they manifest as “triadic” relations. These are relations whose being consists in “bringing about” connections between more basic (monadic and dyadic) relata that previously were unrelated in the particular way that the sign connects them (EP2: 267, 269).

      In that they belong to Peirce’s Universal Categories, signs are essentially relational in character. This characteristic I identify in the rhetorical definition of the sign above, specifying that the movements signs perform are “relational.” In their capacity to bring about or make manifest triadic relations, signs may be characterized as relationship instigators (logical and grammatical discourses more often characterize them as “determiners” or “informers”). In this respect, they are agentive, as the definition specifies. And, in that Peirce identified all triadic facts as “intellectual” (EP2: 171), or possessing entelechy, a concept Peirce took from Aristotle, they have the capacity, if not the demonstrated and/or recognized ability, for intelligent or at least intelligible (potentially intelligent) performance. As Peirce wrote, “Thought plays a part” in all cases of Thirdness (EP2: 269), and “wherever there is thought there is Thirdness” (EP2: 269). The 1903 Syllabus definition, in this manner, identifies three of the four characteristics specified in the rhetorical definition here conceptualized: relationality, agency, and intelligibility/intelligence.

      The second, even later definition, formulated in 1906, was given in a letter Peirce wrote on March 9 of that year to his English colleague Lady Victoria Welby. In this formulation, Peirce defines a sign as “any medium for the communication or extension of a Form (or feature)” (1977; EP2: 477). This definition identifies two characteristics corresponding to the 1903 definition. As a “medium,” the sign is relational, and in its embodiment or manifestation of some form or feature, it is intelligible if not intelligent.

      The rhetorical definition of the Peircean sign here conceptualized, then, does no more than identify from a rhetorical vantage point the four fundamental distinctive features Peirce attributed to signs according to their particular categorical classification as “facts of Thirdness.” It recognizes their relationality, their agency, their form-ing-ness, and their thoughtfulness. While it may read very differently from more standard logically and grammatically oriented definitions, it is nonetheless as consistent with Peirce’s pragmaticist orientation as they are and might arguably be seen to better represent what is most foundational to his thinking—“processuality,” if there might be such a term—despite its emerging from a relatively neglected area of his semeiotic.

      The Peircean symbol is not, in this rhetorical regard, necessarily the transmitter of some kind of meaningful content that “it” conveys. Although many sorts of symbols, and other pragmaticist signs as well, conform to this definition, it is not their most basic identifying character. Peirce’s pragmaticist sign is even more fundamentally general in reference than such a definition would allow. Perhaps only Victor Turner’s definition of a symbol as “a positive force in an activity field” rivals Peirce’s as far as the applicability and referential inclusiveness of the conceptualization is concerned (1967: 20). From a rhetorical regard, a Peircean sign is basically kinetic rather than substantial. Whatever else it may be, a pragmaticist sign is always moving in a certain way. It is a “moved mover,” in Colapietro’s terms (1989: 22). Its agentive, performative character is born in movement, not in content. It emerges in activity—in transition, transformation, transmission, or translation or in some other kind of changeful process. Again, if the “e” in the Peircean spelling of “semeiotic” might be encoded with yet another meaning (multi-stably), it might also be read as signaling this kinetic performative identity of the rhetorically approached Peircean sign.