Abstrakt
DOI: http://doi.org/10.26333/sts.xxxviii1.03
The present paper shall principally consider two essential theoretical paradigms in semiotics. The first belongs to the post-structural paradigm designated by Greimas 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. Theoretically 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 existential semiotics through the Dasein), in my opinion, can enhance either inducing or deducing meaning. Such a sort of semioticizing exposes us to various sorts of “existential statuses” 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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