Acceso usuarios
The author intends to reproduce the diverse circumstances that turn the understanding of the icon possible. First of all, he draws a list of the main fratures of the icon such as can be found in Peirce’s texts. Next, a confrontation of these features with the visual signs, which are expected to exemplify the icon, raises some major difficulties in the light of the central issues of Peirce’s doctrine of signs—that is, the issue of representation. The characteristics of the musical sign, which are recognized by many specialists, correspond to the icon to the extent that it reserves some room for the imagination within the sign. In this room, it is possible to apprehend virtuality and to let emotion inscribe itself in the process of semiosis. The author evaluates this hypothesis and analyses its effects on the theory of signs.
