Martin Švantner

The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form of this rationality is semiological, which can be classified under the encyclopaedic rubric of structuralism, and which has its main source of inspiration in general linguistics and its continuation in philosophical anti-humanism. The second perspective has its origins in Peirce’s logicist theory of the sign and his pragmatist metaphysics, and opens up thinking about the sign, the human, and the non-human to a non-language-centric view of the world. Despite their demonstrable theoretical and methodological incompatibility, the present text treats them as incompatible but largely complementary perspectives. It is in their mutual exposition that one can see the moments in which the view of modern human as a semiological and semiotic animal takes shape. The text brings this fundamental and founding theoretical schism into focus by examining two images from post/modern art: Ted Chiang’s “The Great Silence” and Jorge Luis Borges’ “Averroës’s Search.”

The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form of this rationality is semiological, which can be classified under the encyclopaedic rubric of structuralism, and which has its main source of inspiration in general linguistics and its continuation in philosophical anti-humanism. The second perspective has its origins in Peirce’s logicist theory of the sign and his pragmatist metaphysics, and opens up thinking about the sign, the human, and the non-human to a non-language-centric view of the world. Despite their demonstrable theoretical and methodological incompatibility, the present text treats them as incompatible but largely complementary perspectives. It is in their mutual exposition that one can see the moments in which the view of modern human as a semiological and semiotic animal takes shape. The text brings this fundamental and founding theoretical schism into focus by examining two images from post/modern art: Ted Chiang’s “The Great Silence” and Jorge Luis Borges’ “Averroës’s Search.”

In this study I compare the work of two scholars who are important for contemporary research into the history of semiotics. The main goal of the study is to describe specific rhetorical/figurative forms and structures of persuasion between two epistemological positions that determine various possibilities in the historiography of semiotics. The main question is this: how do we understand two important metatheoretical forms of descriptions in the historiography of semiotics or the history of sign relations? The first perspective is semiology and its corollary, “structuralism,” as presented in Michel Foucault’sThe Order of Things. This perspective prefers to consider history as a set of ruptures (i). The second position explores the possibility of the historical development of semiotic consciousness as presented in the works of John N. Deely (ii). The main aim of this study lies in the exploration of these two different epistemological bases – divergent bases for developing specific understandings of interconnections that hold between between semiotics, semiosis and historical processes. A goal of this paper is to demonstrate the limits and advantages of these two paradigmatic positions. The positions in question are “meta-theoretical” in the following senses such that: (i) the historical episteme is taken to be ana priorideterminant of all sign-operations in a given era and is also the semiologic grid through which Foucault approaches every mode of scientific knowledge (from “science” to “economy” and beyond); (ii) the quasi-Hegelian development of semiotic consciousness based on a conception of the sign considered as a triadic ontological relation. The latter is Deely’s guiding meta-principle, through which the history of semiotics can be articulated, examined and evaluated.