The term “pragmatism” has been used and abused by doctrines that are even contradictory among them. For the founder of Pragmatism as a philosophicaltradition, Charles Peirce, this situation might seem a sad misunderstanding, and that is why he came up with the term “pragmaticism” in order to distinguish his own particular version of Pragmatism. However, Peirce himself did not leave a systematic treaty that explained what kind of specific conditions distinguish his pragmatism from other versions. In this essay I introduce some criteria that I deem fundamental to disambiguate the meaning of Pragmatism: (1) the use of the logical principle known as the ‘pragmatic maxim’, upon which the corner stone of the tradition should rest; (2) the need to adopt Scholastic Realism and reject Nominalism; and (3), the operationalist character (as opposed to the inferential character) of Peirce’s pragmatism. In addition, I offer some views avowing that in spite of the differences and distinctions that these criteria establish, there is a core of convergence between the different kinds of pragmatisms present in the philosophical tradition. / Distintas doctrinas, incluso contrapuestas entre sí, presumen de ser una forma de “pragmatismo”. Para el fundador del Pragmatismo en tanto tradición filosófica, Charles Peirce, esta situación puede resultar en una lamentable confusión y, por tanto, acuñó el término de ‘pragmaticismo’ para distinguir su particular versión.Sin embargo, Peirce mismo no escribió un texto sistemático en el que explicara qué criterios específicos distinguen su pragmatismo de cualquier otro. En este texto presento algunos de estos criterios que me parecen fundamentales: (1) el uso de una máxima pragmática sobre la cual ha de descansar el principio lógico que fundamenta la tradición, (2) La necesidad de adoptar el realismo escolástico y rechazar el nominalismo; y (3) El caracter operacionalista, opuesto al inferencialista, del pragmatismo de Peirce. Además, presento algunas opiniones que hacen pensar que a pesar de las distinciones que estos criterios establecen hay un núcleo de convergencia entre los distintos tipos de pragmatismos presentes en la tradición filosófica.

Dissertation thesis Semiotics of schizophrenia aims to analyse manifestations of the symptoms of schizophrenia from the point of view of semiotics. The goal is to find common features of otherwise heterogeneous manifestations of schizophrenia and the features that make them abnormal. The method of the thesis is semiotic reduction, i.e. approach to phenomena as to sings and significations, which approach is based on the semiotic theory of Charles Peirce. The proposed thesis characterises symptoms of schizophrenia as a disorder of indexical relation between a sign-object and the group of signs of the Self. An object can be a voice or an image in the case of hallucinations, a proposition in the case of delusions, a rule of communication in the case of disorganization of speech or behaviour or a habitus in the case of negative symptoms. Abnormality of the manifestations of schizophrenia is due to a disorder of indexical relation between signs of the Self, which have features as indisprovability or basis for interpreting the world, and these objects. The author compares conclusions of the thesis with clinical studies and so called unifying theories of schizophrenia.

Dissertation thesis Semiotics of schizophrenia aims to analyse manifestations of the symptoms of schizophrenia from the point of view of semiotics. The goal is to find common features of otherwise heterogeneous manifestations of schizophrenia and the features that make them abnormal. The method of the thesis is semiotic reduction, i.e. approach to phenomena as to sings and significations, which approach is based on the semiotic theory of Charles Peirce. The proposed thesis characterises symptoms of schizophrenia as a disorder of indexical relation between a sign-object and the group of signs of the Self. An object can be a voice or an image in the case of hallucinations, a proposition in the case of delusions, a rule of communication in the case of disorganization of speech or behaviour or a habitus in the case of negative symptoms. Abnormality of the manifestations of schizophrenia is due to a disorder of indexical relation between signs of the Self, which have features as indisprovability or basis for interpreting the world, and these objects. The author compares conclusions of the thesis with clinical studies and so called unifying theories of schizophrenia.

This dissertation considers the supportive and complementary relation between Mark Johnson’s embodied realism and Bruce Lee’s Jeet Kune Do as a philosophical practice. In exploring this relationship, the emphasis on one’s embodiment condition and its relationship with metaphor and self-expression are the primary focus. First, this work involves providing an introduction to and an exploration of Johnson’s understanding of embodiment and his pragmatic realism with its foundation in metaphorical expression. Second, Bruce Lee’s Jeet Kune Do serves as a kind of exemplification and possible case of effective metaphorical development founded upon a desire for metaphorical-based self-expression of a combat philosophy of embodiment. Third, an analysis of the convergence between the use of metaphor-based embodiment in Lee’s and Johnson’s philosophies is considered. In this respect, both views serve to promote communication and evolution of self-expression as a consequence of certain metaphors. In the final area of analysis, Peirce’s phenomenology offers an understanding of how Lee’s and Johnson’s metaphor-based embodiment provides a fuller context and awareness of the phenomena of embodiment.

This thesis aims to reexamine the index as a sign that generates meaning in the sculptural oeuvre of contemporary British artist Antony Gormley. The artist has consistently proclaimed his work to be indexical but has never offered clarification of the term. Rather, he adheres to the definition developed in the late nineteenth century by the term's originator, Charles Sanders Peirce. This is problematic because it gives false meaning to the indexical sign in a contemporary context. By comparing Gormley's use of the term in his sculptural practice to Peirce's theories and those of art historian Rosalind Krauss, who was the first to significantly and convincingly relate the index to art, this study will attempt to provide a contemporized definition of the index. This thesis aims to offer a clarification in the meaning of Antony Gormley's sculpture and demonstrate the index's ability to offer resolution to what is contemporary about contemporary art.

This dissertation is an edition of the letters exchanged between Charles Peirce and the Open Court Publishing Company (OCP) 1890 to 1913, roughly the last twenty-three years of Peirce’s life. OCP published more of Peirce’s philosophical writings than any other publisher during his lifetime, and played a critical role in what little recognition and financial income he received during these difficult, yet philosophically rich, years. This correspondence is the basis for much of what is known surrounding Peirce’s publications in The Monist and The Open Court, and is referenced often in Peirce editions dealing with his later work. Peirce’s OCP correspondents included Paul Carus, editor; Edward C. Hegeler, founder and owner; Thomas J. McCormack, assistant editor and translator; Francis C. Russell, Chicago attorney and OCP editorial contractor; and various other OCP editors and staff members. Also included in this edition (Appendix) are enclosures and other material related to the letters, with some exclusions noted in the text. Not included are letters exchanged within the OCP organization that make reference to Peirce. Significant portions of these letters are quoted or referenced in editorial notes, but their entirety is not necessary for a full account of the Peirce–OCP relationship, and for now falls out of the scope of this edition. The objective of this edition is to provide for the first time a complete and accurate text of this oft-cited correspondence, with textual apparatus and contextual annotation. The edition is intended for Peirce readers, but is also a valuable reference for those interested in the history of OCP and, more generally, of Progressive Era American philosophy. / 2024-03-31T00:00:00Z

Made available in DSpace on 2016-04-27T17:27:09Z (GMT). No. of bitstreams: 1 Ana Claudia Trevisan Rosario.pdf: 3313327 bytes, checksum: 143588fda07f5dff57500ea6ceb4ed64 (MD5) Previous issue date: 2015-02-24 / The research proposed here is justified by the emblematic interest in a philosophical approach essentially semiotic on aspects of musical creation of our greatest composer Heitor Villa-Lobos (1887-1959) and the excellence in constructing the trajectory of Brazilian musical identities, namely: a) the identity of the composer in his unique compositional technique; b) the identity representing the deep intimacy with Brazilian nature, its native people and their miscegenation; c) the identity regarding methodology and application of our folklore in Brazilian music education. The first chapter briefly discusses the life and work of the composer, with historical and biographical studies, including the thoughts of the composer and emphasizing key-works and its elements of identity. In the second chapter, we discuss pivotal concepts in the philosophy of Charles Sanders Peirce (1839-1914), the theory of representation subsuming his important phenomenology and the possibility of creativity through the action of the musical sign in constant semiosis. We will emphasize the functionality and application of peircean semiotics, its triad: sign-object-interpretant and the primacy of the latter within its semiosis, iconicity, symbolism and polysemy as essential characteristics of the artwork. In the third chapter, we will analyse and intensify the study of semiotics and phenomenological categories applied to the simphonic poem Uirapuru. The entire research priority regards the interdiciplinarity of music, philosophy and semiotics in order to dialogue end clarify the theme of Brazilian identity in music / A pesquisa aqui proposta justifica-se pelo interesse em um enfoque filosófico e essencialmente semiótico sobre aspectos da criação musical de nosso maior compositor erudito, Heitor Villa-Lobos (1887-1959), e na excelência da trajetória na construção de identidades musicais brasileiras, a saber: a) a identidade do compositor em sua singular técnica composicional; b) a identidade, representando a profunda intimidade com a natureza brasileira, seu povo nativo, bem como suas miscigenações; e c) a identidade na metodologia e aplicação de nosso folclore na educação musical brasileira. O primeiro capítulo, resumidamente, aborda a vida e a obra do compositor, com estudos históricos, biográficos e breves ênfases em obras-chave e os elementos de identidade. No segundo capítulo, abordamse conceitos pivotais na filosofia de Charles Sanders Peirce (1839-1914), a teoria de significações, subsidiada pela triádica fenomenologia e a possibilidade de riqueza criativa através da ação do signo musical em constante semiose. Tratar-se-á a composição musical enfatizando-se tríade signo-objeto-interpretante, e a primazia desse último, no âmbito de sua semiose, a iconicidade e a polissemia, como características essenciais da obra de arte, No terceiro capítulo, realizar-se-á uma análise, observando influências de compositores europeus no poema sinfônico Uirapuru, sob o prisma da semiótica e as categorias fenomenológicas peirceanas. Toda a pesquisa é permeada à luz de comentadores, como músicos, filósofos, antropólogos, musicólogos, pois visa um diálogo à interdisciplinaridade como um substrato para aprofundamento do tema da identidade brasileira na música