The essay investigates the possibility of a closer connection of Husserlian phenomenology and that tradition in semiotics of art which originates mainly withSchelling and Goethe. The affinity between semiotically approached tropology and phenomenology is supported if a symbol is conceived not only as an analogy of the designated, but also as its direct grasping. This grasping shows some features of rational contemplation as understood by phenomenology. Modelling symbol as a synthetic trope enables us to proceed to the model of an (...) "artistic situation" as a square generated by a decomposition of the triangle of reference. The complexity of the processes within the "square" results from a fusion of the effects of the linear, natural circuit and the feedback, culturally historical circuit. (shrink)

The essay investigates the possibility of a closer connection of Husserlian phenomenology and that tradition in semiotics of art which originates mainly withSchelling and Goethe. The affinity between semiotically approached tropology and phenomenology is supported if a symbol is conceived not only as an analogy of the designated, but also as its direct grasping. This grasping shows some features of rational contemplation as understood by phenomenology. Modelling symbol as a synthetic trope enables us to proceed to the model of an (...) "artistic situation" as a square generated by a decomposition of the triangle of reference. The complexity of the processes within the "square" results from a fusion of the effects of the linear, natural circuit and the feedback, culturally historical circuit. (shrink)