Christoph Hubig
Some comments on the subject of the previous publication
Hans Werner Arndt
Semiotics and language theory in the classical realism of the German Enlightenment. A
historical classification.
Hans Poser
Signum, notio and idea. Elements of Leibnizian semiotic theory
Hans Werner Arndt
The semiotics of Christian Wolffs as a preparatory course for the
ars characteristica combinatoria and the ars inveniendi
Christoph Hubig
The semiotic theory of Johann Heinrich Lamberts:
semiotics as philosophical basis
Ursula Franke
Semiotics as a conclusion of aesthetics. A.G. Baumgarten's
definition of semiotics as an aesthetic basis
Christine Hardenberg
G.E. Lessing's semiotics as a basis of an art theory
Enclosure
Hans Wald
Science prose
Project
Jean Jacques Nattiez
The problem of sign classification.
Semiology of semiology
Literary report
Vilmos Voigt
Semiotics in eastern Europa II: GDR, Romania, Hungary
Signum, notio and idea.
Elements of Leibnizian semiotic theory
Hans Poser, Technical University Berlin
Summary. Leibniz' approach towards a "characteristica universalis", a
"universal art of signs" (Zeichenkunst), as an essential instrument of
human
knowledge is rooted both in the Cartesian ideal method of a universal mathesis
and in the ars magna as a universal language comprising all the simple concepts
and their combinations. The signum (sign vehicle) expresses a notio (concept)
based on an idea fundamental to the res (object). The assumption here ist that
an isomorphic relationship between the logical and ontological areas is the
precondition enabling denotation. However, the deficiency of human thought
prevents characterization in its entirety; a multitude of sign systems -
"Bereichscharakteristiken", area-specific characteristics - take the place
of
this ideal. Under these conditions it is also possible to transpose ordinary
language into a lingua rationis. Beyond that, the importance of ordinary
language consists in its correlating sign and meaning.
The semiotics of Christian Wolff as a preparatory
course for the ars characteristica combinatoria and the ars inveniendi
Hans Werner Arndt, University of Mannheim
Summary. The central thesis in Wolff's approach towards semiotics is that a
semiotically classified representation of philosophical sciences is a
prerequisite to the development of an ars inveniendi. Assuming that an isomorphic
relationship between concepts, signs, and things as well as between their differences and
relations exists, Wolff develops a system of concepts resulting in a real organon for
philosophy. Wolff's method follows the ideal of explicating concepts originating in
ordinary language, which, because of this origin, become lexicographically applicable,
even independently of the theoretical context. While here (and this is true to Daries) all
content of consciousness is assumed to be accessible to an analysis notionum and to be
solely conveyed by signs, later on, language and signs are regarded as media
capable of evoking their own effects.
The semiotic theory of Johann Heinrich Lambert:
semiotics as philosophical basis
Christoph Hubig, Technical University Berlin
Summary. Proceeding from Lambert's definition of semiotics as a "tool",
the
author deals first with the function of signs to recall impressions and to
represent the relationships between them. The presentation then develops two
aspects: a) the influence of sign constitution on the truth of cognition and
the errors caused by the "tyrannical" use of ordinary language, b) the
criteria
for a clear and distinct system of signs according to the ideal of mathesis. In
the search for a solution to these questions Lambert is compelled to
rehabilitate ordinary language as a decisive factor that must be taken account
of in nominal definitions.
Semiotics as a conclusion of aesthetics. A.G.
Baumgarten's definition of semiotics as an aesthetic basis
Ursula Franke, University of Münster
Summary. Baumgarten developed his first approach to semiotics in connection
with his attempt to provide poetic thought and its expression with a
philosophical foundation. His approach is characterized by a peculiar
eclecticism drawing on both the orthodox philosophy of Leibniz/Wolff and the
tradition of rhetoric and poetology. Baumgarten dealt with the question of
poetic thought within the broader context of aesthetics, which he regarded as
an organon of sensory experience (Sinnlichkeit). He was the first to give
aesthetics the status of an autonomous philosophical discipline. Within the
context of the instrumental function of aesthetics, semiotics was given the
task of an aesthetic propaedeutics. It must therefore be regarded from this
perspective.
G.E. Lessing's semiotics as a basis of an art theory
Christine Hardenberg, University of the Saarland
Summary. Lessing wrote his "Laocoon" in order to provide a distinction
between
prose, poetry, and painting on the basis of a classification of their signs. A
first classification assigns signs directly to the objects qua resemblance. But
this classification does not allow one to differentiate between imitation and
description in texts. To avoid this difficulty, Lessing introduces the
distinction between sign and idea or concept: signs now become the medium of
conceptualisation of objects. By referring to the process of conceptualisation,
Lessing establishes a new classification that allows to differentiate the
imitative arts from other products of sign use. This new approach permits
conclusions regarding the objects of the arts.
