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What is the sign in the classical age? For whatchanged in the first half of the seventeenth century, and for a long time -- maybeto be, to our time, is a structure of signs, the conditions underwhich they exercise their strange function; it is whatcauses them to life as characters among so many other well-knownor visible things; it is their essence. On the verge of a classicage, the sign ceases to be a figure of the world; and it ceases to bedue to the fact that he stands by a strong andsecret relations of similarity or affinity. Classicism determines the sign according to three variables.<$FLogique de Port-Royal, partie I, ch.IV.>. Origin of communication:a sign may be natural (as the reflection in the mirror ukazyaetfor what it reflects) or conventional (as the word for the grouppeople can mean the idea). Type of communication: a sign may belong toto the aggregate to which it points (as healthyis part of health, o which he testifies), orto be separated from it (as the figures of the old Testament aredistant signs of the Incarnation and Redemption). Reliabilitycommunication: a sign may be so constant that his loyaltythere is no doubt (as the breath indicateslife), but it can be simply probable (as pallor withof pregnancy). None of these forms of communication do not imply athe need of similarity; even the natural sign does not requirethis screams -- it's spontaneous characters, but not the analogues of fear;or, as it says Berkeley visual sensations aresigns of touch established by God, and yet theynot in any way resemble<$F Berceley. Essai d'une nouvelletheorie df la vision (Euvres choisies, Paris, 1944, t. 1, p.163-164).>. These three variables replace resemblance in orderto determine the effectiveness of the sign in the field of empiricalknowledge.
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