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Gilles Deleuze: Beyond Peirce’s Semiotics | ||
| مجله پژوهش های فلسفی | ||
| مقاله 2، دوره 6، شماره 11، آبان 1391، صفحه 1-37 اصل مقاله (239.51 K) | ||
| نوع مقاله: مقاله علمی- پژوهشی | ||
| نویسندگان | ||
| گلناز منطقی فسایی* 1؛ موسی اکرمی2 | ||
| 1دانشجوی دکتری فلسفه هنر، دانشگاه آزاد اسلامی، واحد علوم وتحقیقات تهران | ||
| 2دانشیار گروه فلسفه علم دانشگاه آزاد اسلامی، واحدعلوم وتحقیقات تهران | ||
| چکیده | ||
| This paper studies the role of the semiotic discussions of Charles Sanders Peirce, the American philosopher and mathematician, in the formation of Deleuze’s first leading book on cinema, Cinema 1: the Movement-Image,in whichthe author surpasses Peirce’s semiotics. We will show how Deleuze creates a new form of signs in his second leading book on cinema, Cinema 2: the Time-Image. Deleuze had tried to couplethe patterns of Peirce’s semiotics in his first book with the philosophical discussions on different epochs of the classical cinema. In his second book, he tried to surpass Peirce’s semiotics, proposing patterns of new semiotics concerning modern cinema by modeling on Peirce’s semiotics. This paper attempts to propose the Peircian signs in Cinema 1: the Movement-Image and Deleuze’s modeling on the signs in Cinema 2: the Time-Image, showing that such asurpassing for Deleuze is the key point of under-standing philosophy. It helps him to reach his particular semiotics based on both Peirce semiotics and Bergson’s philosophy of time, while being completely different from them: noosign. | ||
| کلیدواژه‌ها | ||
| Categories؛ Chronosign؛ Hyalosign؛ Mnemosign؛ Onirosign؛ Audio-visual sign؛ Noosign | ||
| مراجع | ||
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Bergson, Henry (1959), Matter and Memory, trans. by Nancy Margaret Paul and W. Scott Palmer, Garden City, N.Y.: Doubleday Anchor. Bogue, Ronald (2003), Deleuz on Cinem, New York and London: Routledge. Ciment, Michel (1993), Kazan par Kazan, New York: Hachtte Inc.. Colman, Felicity (2009), Film, Theory and Philosophy, The Key Thinkers, Montreal &Kingston, Ithaca: McGill-Queen’s University Press. Deleuze, Gilles (2003), Cinema 1: The Movement-Image, trans. H. Tomlinson and B. Habberjam Minneapolis: University of Minnesota Press. Deleuze, Gilles (2000), Cinema 2: The Time-Image, trans. H. Tomlinson and B. Habberjam London: The Athlone Press. Eisenstein, Sergei (1957), Film Form and Film Sense, trans. and ed. by Jay Leida, New York: Meridian Books. Look, Brandon C. (2012), “Leibniz’s Modal Metaphysics,” The Stanford Encyclopedia of Philosophy (Fall 2012 Edition), Edward N. Zalta (ed.), URL =<http://plato.stanford.edu/archives/fall2012/entries/leibniz-modal/>. Marrati, Paola (2008), Gilles Deleuze, Cinema and Philosophy, Baltimore: The John Hopkins University Press. Misak Cheryl (2006), Cambridge Companion to Peirce, New York: Cambridge University Press. Nowell-Smith, Geoffrey (1997), The Oxford History of World Cinema, Oxford: Oxford University Press. Peirce, C. S. (1931-35), Collected Papers of Charles Sanders Peirce, vols. 1-6, edited by Charles Hartshorne and Paul Weiss, Cambridge, Mass.: Harvard University Press. Peirce, C. S. (1958), Collected Papers of Charles Sanders Peirce, vols. 7-8, ed. by Arthur W. Burks, Cambridge, Mass.: Harvard University Press. Peirce, C. S., and Victoria Welby-Gregory (Lady Welby) (1977), Semiotic and Significs: The Correspondence between C. S. Peirce and Victoria Lady Welby, ed. by Charles S. Hardwick with the assistance of James Cook, Bloomington and Indianapolis: Indiana University Press. Short, T.L. (2007) Peirce’s Theory of Signs, New York: Cambridge University Press. | ||
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