Access

You are not currently logged in.

Access your personal account or get JSTOR access through your library or other institution:

login

Log in to your personal account or through your institution.

If You Use a Screen Reader

This content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.

Argos, le fameux chien de l'"Odyssée", qui attendait son maître

Michel Costantini
Littérature
No. 163, COMMENT DIRE LE SENSIBLE ? RECHERCHES SÉMIOTIQUES (SEPTEMBRE 2011), pp. 7-19
Published by: Armand Colin
Stable URL: http://www.jstor.org/stable/41705364
Page Count: 13
  • Read Online (Free)
  • Subscribe ($19.50)
  • Cite this Item
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
Preview not available

Abstract

Le long sillon tracé par Jean-Claude Coquet pour labourer le champ d'une sémiotique phénoménologique (qu'elle soit nommée « subjectale », « du continu », « continuiste », ou encore « des instances ») ne pouvait qu'être... sensible au sensible. À travers plusieurs interventions des dernières années (de l'ouvrage de 2007 sur le jeu de phusis et de logos jusqu'à une communication vénitienne de 2010), on cherche à discerner quelques vertus d'une telle approche : ce qu'elle permet d'entrevoir pour traiter la question de l'empêtrement, ce qu'elle autorise à penser de la problématique du kairos, et, dans le prolongement, ce qu'elle appelle à approfondir pour lire certain tableau de plate peinture. Jean-Claude Coquet has long dug furrows in order to prepare the field for a phenomenological semiotics (a semiotics variously dubbed "subjectal", "of continuity", "continuistic", or yet "grounded in its ' instances'"), and his endeavour could only be... sensitive to the sensible universe. Through a number of recent works (from the 2007 work on the play of Phusis and Logos to a talk in Venice in 2010), the virtues of such an approach are articulated: what it enables us to catch a glimpse of pertaining to certain issues regarding the question of entanglement (empêtrement), what it allows us to think about other issues pertinent to the problematic of kairos, and, going forward, what needs to be thought through in order to read a given work of plain painting.

Page Thumbnails

  • Thumbnail: Page 
7
    7
  • Thumbnail: Page 
8
    8
  • Thumbnail: Page 
9
    9
  • Thumbnail: Page 
10
    10
  • Thumbnail: Page 
11
    11
  • Thumbnail: Page 
12
    12
  • Thumbnail: Page 
13
    13
  • Thumbnail: Page 
14
    14
  • Thumbnail: Page 
15
    15
  • Thumbnail: Page 
16
    16
  • Thumbnail: Page 
17
    17
  • Thumbnail: Page 
18
    18
  • Thumbnail: Page 
19
    19