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This paper starts off by presenting the various circumstances whereby the notion of “ icon ” can be apprehended, after which it draws up a list of the principal characteristics of icons, as defined in Peirce's writings. These are then contrasted with definitions of visual sign, which etymologically should correspond to the icon. However, the traditional icon – visual sign equation raises major difficulties with respect to one of the central issues of sign theory, namely the status to be accorded to representation. Now, it so happens that the characters attributed to the musical sign by musicologists correspond more closely to the icon. Within the musical sign, there is greater scope for the workings of the imagination, making it possible for the virtual to be perceived and for emotion to find its proper place in semiosis. This hypothesis is tested and its implications for sign theory are assessed.
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This paper offers an account of the way Nishitani presents the problem of evil and sin in Religion and Nothingness, trying to prove that this question has an essential role in the deepening of self-awareness towards nothingness and emptiness. In order to see Nishitani's thought in a wider horizon, it is briefly compared to Ricoeur's analysis of the same problem. One can then conclude that, despite the differing metaphysical standpoints of the two philosphers, they tend to agree on the question of evil because of its aporetic nature, forcing to « think more an differently ».
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In order to understand how Teilhard strips survival of its platitude and makes out of it a matter of decision in terms of a taste for living, emphasis is made on challenges attuned to what he calls “super-living”, which implies being worried and yet in peace. This does not go along with survival tactics in which memory is put under the control of mistrust. As always, and here perhaps more than ever, insight is crucial because serenity, ultimately, is what is at stake.