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Semiotics 1980 pp 439-443 | Cite as

Semiotic and Creativity

  • Cynthia C. Rostankowski

Abstract

In this paper a semiotic account of the nature of creativity is suggested and developed. Charles S. Peirce’s theory of signs provides an explanation of what creativity is, as well as accounting for the necessary conditions which must be met in order for an entity to be properly identified as creative. The fine arts provide the focus for this account, since artistic productions suggest strong similarities among themselves in this regard, despite media differences.

Keywords

Logical Foundation Artistic Production Mental Energy Experienced Element Aesthetic Object 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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References

  1. Harrison, A., 1978, “Making and Thinking: A Study of Intel- ligent Activities,” Hackett, Indianapolis.Google Scholar
  2. Hocutt, Max 0., 1962, The Logical Foundations of Peirce’s Aesthetics, Journal of Aesthetics and Art Criticism, 21: 157–166.Google Scholar
  3. Kneller, G. F., 1965, “The Art and Science of Creativity,” Holt, Rinehart and Winston, New York.Google Scholar
  4. Matejka, L. and Titunik, I.R., eds., 1976, “Semiotics of Art: Prague School Contributions,” MIT University Press, Cambridge.Google Scholar
  5. Peirce, C. S., 1965–6, “Collected Papers, 8 volumes,” C. Hartshorne and P. Weiss, eds., Harvard University Press, Cambridge.Google Scholar
  6. Shapiro, M. and Shapiro, M., 1976, “Hierarchy and the Structure of Tropes,” Indiana University Press, Bloomington.Google Scholar
  7. Tatarkiewicz, W., 1977, Creativity: History of the Concept, in: “Dialectics and Humanism,” 4: 48–63.Google Scholar

Copyright information

© Plenum Press, New York 1982

Authors and Affiliations

  • Cynthia C. Rostankowski
    • 1
  1. 1.Department of PhilosophyUniversity of Santa ClaraSanta ClaraUSA

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