Abstract

Charles S. Peirce's epistemological theory of mental diagrams forms the theoretical basis of his attempt to analyze diagrammatic reasoning. Two examples, one from science and another from art, are examined to test the scope of this theory. While the first example shows how scientific diagrams form part of translation processes, similar processes are demonstrated in how paintings are received. The article attempts to connect Peirce and A. J. Greimas's theory of narrative. Relating the two proves useful in allowing Peirce's theory of the connection between the three normative sciences to be discussed on a new basis