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FILOSOFIA ARTEI
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nu este secundar, ba, mai mult, adesea este chiar obiectul expres
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specific.
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FILOSOFIA ARTEI

diferite; opera este pentru istoric un capitol de istoria

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de schimb; pentru restaurator este o relicv

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interesul practic n procesul de receptare, ceea ce permite ca

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FILOSOFIA ARTEI

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-un anumit context socio-

cultural.
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ce au componente estetice (frumoase) sau care se pretHD]

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te n mod
expres, ca scop, numai n cadrul artei. Arta este domeniul
HVWHWLFXOXLSULQH[FHOHQ

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vQ SULPXO UkQG &RQVHFLQ HOH PRUDOH HGXFDWLYH SROLWLFH GH

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ind vizate

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DYHD DFFHV vQ PRG GH]LQWHUHVDW OD XQ DQXPLW PRG GH D vQ HOHJH L
LQWHUSUHWDOXPHDLRPXO

Tehnicile limbajului artistic sunt specifice. Limbajul

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SHUVXDVLXQHD GH DFHHD DSHOHD]  XQHRUL OD PLMORDFHOH DUWHL YRUED
GH GXK IRUPXODUHD PHWDIRULF  SDUDEROHOH HWF GDU L DLFL
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LOH HVWHWLFH DOH OLPED

jului sunt secundare, subordonate; spre

FILOSOFIA ARTEI
GHRVHELUH GH OLPEDMXO WLLQ HL FDUH HVWH H[SOLFDWLY L JHQHUDOL]DWRU
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individualul, generDOXO ILLQG VXJHUDW Q URPDQ GH SLOG

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preFLVH

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XQ VHQV UD LRQDO GDU H QHFHVDU  WUHFHUHD OD GHFRGLILFDUHD L

lecturarea sensului afectiv, ascuns, sugerat, neevident. Limbajul

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plurivoc, el are mai multe linii de sens ce sunt active n procesul

UHFHSW ULL5HFHSWRUXO DUWHL RVFLOHD]  vQWUH PDL PXOWH OLQLL GH VHQV
DFHVWHD

ILLQG

LPSOLFDWH

vQ

FRQ LQXWXULOH

VSL

rituale ale lumii

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nu se poate fixa numai pe o linie de sens n interpretare. Deci,

OLPEDMXO WLLQ HLH WUDGXFWLELO LILQLW vQ VHPQLILFD LH OLPEDMXODUWHL
H LQWUDGXFWLELO L LQILQLW SULQ RUL]RQWXO VHPQLILFD LLORU SH FDUH OH
GHVFKLGH /LPEDMXO DUWHL H SROLVHPLF LVDX DPELJXX $GHY UDWD
vQ HOHJHUH D XQHL RSHUH FRQVW  vQ VWDUHD DIHFWLY VSLULWXDO  FH R

GHFODQHD] LVXV LQHRULFHLQWHUSUHWDUHvQWHUPHQLUD LRQDOLHVWHR

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semantic. Limbajul artei este sintagmatic, ntruct tehnicile de

combinare a unit LORU GH VHQV SURGXF QRL VHPQLILFD LL 'H DFHHD
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FILOSOFIA ARTEI

spuL L PkQXL OLPEDMXO DUH LPSOLFD LL FKLDU DVXSUD PHVDMXOXL Q

FRQVHFLQ
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RUGLQ H[WUDDUWLVWLF FRQ LQXWXUL PRUDOH PHVDMH XPDQLVWH ILH GH
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pel la

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RSHU  DD vQFkW DFHDVWD FDS W  FRQVLVWHQ

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produsele artistice se

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raportul dintre ele este de imaneQ



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WUDQVILJXUDWvQFRQ LQXWXOSHUFHSWLYPDLPXOWDSDUHGHFkWH[LVW 

>@ 9DORDUHD HVWHWLF  HVWH DDGDU LQHUHQW  UDSRUWXOXL GH DSDUL LH
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GH OXPH H[SULPDW  GHS LQG SULQ LQWHJUDUH VHQVXULOH ORJLFH vQ
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cultive iluzia nici s-R SURYRDFH QLFL QX DGHPHQHWH FX OLEHUW L
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realitate. Prin elementele extraestetice pe care le cuprinde, cu sau
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FILOSOFIA ARTEI
FD YDORUL VHSDUDWH FX FRQ LQXWH SUHFLVH HVWH HYLGHQW F  DUWD VH
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de acord. Desigur, :"un obiect nu

devine pentru noi estetic dect atunci cnd l gndesc n sfera
valorii respective". [6] Dar subalternarea actelor valorificatoare
permite receptarea unor bunuri - vQ DFHVW FD] RSHUH GH DUW  printr-RSULVP YDORULF FHQXFRUHVSXQGHLQWHQ LRQDOLW LLYDORULFH
DEXQXULORUUHVSHFWLYH(VWHRLQDGHFYDUHIHUWLO 'DF MXGHFRSHUD
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sunt subordonate FULWHULXOXL HVWHWLF DFHDVWD YD F

S WD DGkQFLPH

$FHVWH YDORUL] UL LQDGHFYDWH VXQW SRVLELOH SHQWUX F  vQVXL

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SULQ FDUH VH VWUXFWXUHD]  OD DVHPHQHD YDORULILF UL Q IXQF LH GH

pondereD WUHEXLQ HORU FH LQWHUYLQ vQ UHFHSWDUH VH SRDWH YRUEL GH R
DGHY UDW  VWDWLILFDUH D H[SHULHQ HL HVWHWLFH Q UDSRUW FX RELHFWXO
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propune a fi, deci din punct de vedere al nivelului de exisWHQ

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gradualitate a valorilor - GLQ S

-

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vQVXL vQ WHRULD VDHVWHWLF   H SURPL

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de adncimea

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H[SUHVLY DO RSHUHL 'LVWDQ D FRJQLWLY  L XQLILFDUHD DIHFWLY  FX

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cristaliznd-o n atitudini care

pot structura, cu o eficacitate

SURSULH RULFDUH GLQ YDORULOHFXOWXUDOHvPSOLQLQGR LFRDQ  D OXPLL

FILOSOFIA ARTEI
LYLH LLDF UHLIHFXQGLWDWHDIRVWGHPXOWHRULGRYHGLW vQGHFXUVXO
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FILOSOFIA ARTEI
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FILOSOFIA ARTEI

distincte, dar analoge structural, sub aspectul mecanismelor de

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Autoritatea Noului este cea a ineluctabilului istoric". [13]
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mari riscuri: ceODODQJDM

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FILOSOFIA ARTEI
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ta"

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este opera, ci artistul". [14] Natura este imitaW  FD SULQFLSLX

SURGXF WRU-creativ, nu n aspectele sale formal-obiectuale. Prin
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artistic. Limbajul este LPDJLQHD FHOXL FDUH YRUEHWH LDU IXQF LD
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ce nu SRDWH IL H[SULPDW SULQ DOWH PLMORDFH $FHVWH LGHL HPDQ  GLQ
operele multor gnditori: Herder, Rousseau, Vico, Schaftesbury,
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ngvistice

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actelor prin care acestea sunt produse, iar aplecarea asupra limbii ca

FILOSOFIA ARTEI

activitate vie conduce la repunerea n drepturi a rolului jucat de

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prezente n poeticile unor mari creatori contemporani. Important este,

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DPG

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H[LVWHQ

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postulatul practicilor artistice contemporane. Pentru a surprinde

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deschise". Ideea deschiderii operei artistice la o pluritate de

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trecerea de la tactil la vizual, de la eleatismul formei clasice la

FILOSOFIA ARTEI
KHUDFOLWHLVPXO IRUPHL EDURFH )RUPD FODVLF  HVWH FODU  L GLUHFW
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surprinde un efect clar. Orict de diverse ar fi variantele stilistice
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imuabile.
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fundamentale ale spiritului omenesc la

un moment dat". [16] Transformarea polisemiei din corolar al
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traduc o raportare
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FILOSOFIA ARTEI
XQLYHUVXOXL FRQFHSWXDO DUWD PDQLIHVW  DQDORJLL VWUXFWXU

ale cu

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ct determinate,

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sau ca studiu al structurilor lingvistice (formalismul rus,

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sau alta, sunt

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FILOSOFIA ARTEI
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d necesar, valoarea
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chiar dect vrea. Ceea ce Umberto Eco numeWH GHVFKLGHUHD GH

gradul doi" include o indeterminare a operei din punctul de vedere
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FILOSOFIA ARTEI
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nale ale mesajului. Autoreflexivitatea

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comunicarea, la fel cum probabilitatea nu exclude cauzalitatea.

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acest comportament al semnelor n raport cu

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de numeroase alegeri interpretative, dar poate fi delimitat ca

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scop explicit.

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al cmpului semantic. n momentul n care acest control nu mai

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- o specie a deschiderii de gradul doi. Aceasta

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FILOSOFIA ARTEI
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- subsisteme polisemice create de autor - care

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structurilor este ntr-DGHY

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de autor prin regulile de

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a codurilor presupun analiza raportului comunicativ mesajreceptor. Ca atare, studierea rolului activ al subiectului n procesul
UHFHSW ULL HVWH LQFOXV  vn metodologia deschiderii structurii operei
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FILOSOFIA ARTEI
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probabilist,

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ei s-au ntors

la vechiul formalism retoric". [28]

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operei este ridicat la rangul de lXPHHVWHWLF 

Un creator poate cultiva, desigur, arbitrariul sistematic.
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reduce la o dezordine

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numai prin mesajul subiectivizat al operei. ntruct simbolul

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FILOSOFIA ARTEI
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orizont de sensibilitate a lumii opeUHL GH DUW  vQ FDUH WUHEXLH V  VH
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situarea sa n contexte explicative mai largi (ideologice, morale

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simbolului artistic (psLKDQDOL]

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gradului de inteligibilizare. Accentul nu mai cade, ca n primul

ci pe recuperarea
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confirme sistemul de encoding al textului, dar nu poate fi

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modelul codului lingvistic circumscrie obiectul epistemologic,

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vizibil dect prin intermediul a ceea ce este spus". [34] Lectura

vQV LHVWHXQDYRUELW DGLF WUDGXV vQOLPEDM2UH[SUHVLYLWDWHD

"este mai pX LQ vQ DQDOL]D RSHUHL GHFkW vQ SUH]HQ D HL >@ FD
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semiologice: OLQJYLVWLFH DFROR XQGH VH IRUPXOHD]  PHVDMH FX

ajutorul codului; infra-OLQJYLVWLFH SHQWUX VLVWHPH FDUH vQF  QX
sunt semnificante, au un cod, dar nu transmit mesaje, iar
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suprasemnificante, vQWUXFkW WUDQVPLW PHVDMH GDU I

U  FRG $UWD

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ultimei categorii. Limitele demersului semiotic apar astfel mult

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prin produsele sistemului". [36] Dar, ntruct teritoriul artei este

SOXUDO

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este identificabil. Q WLPS FH OLPED VH PDQLIHVW

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-ar
releva un sistem". [37] Praxis-ul artistic este ntotdeauna anarhic;
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FRQVHFLQ

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ca un cod, ci FD H[LVWHQ  L VWUXFWXU  D RSHUHL VLQJXODUH 'H

aceea, conchide Dufrenne "obiectul estetic nu poate fi justificat
de categoriile lingvisticii". [38] De fapt, ceea ce respinge
Dufrenne este numai imperialismul lingvistic n cercetarea
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FILOSOFIA ARTEI

preparativ a reaOLW

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iar rostul esteticii filosoficHFDUHSOHGHD]

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FILOSOFIA ARTEI

constructivism logic sau ntr-XQ SR]LWLYLVP OLSVLW GH RUL]RQW L

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de
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tea

FILOSOFIA ARTEI

operei de a-L FLUFXPVFULH VIHUD FRQFUHWL] ULORU SRVLELOH

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vQ RSHUD OLWHUDU  VDX R RSHU  GH DUW  vQ JHQHUH - " [42] nu este o

FILOSOFIA ARTEI
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FILOSOFIA ARTEI
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FILOSOFIA ARTEI
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FILOSOFIA ARTEI
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