Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water
This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in...
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| Autor*in: |
Lee, Yunhee [verfasserIn] Cobley, Paul [verfasserIn] |
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| Format: |
E-Artikel |
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| Erschienen: |
De Gruyter ; 2020 |
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18 |
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Walter de Gruyter Online Zeitschriften |
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Enthalten in: Semiotica - Berlin [u.a.] : Mouton de Gruyter, 1969, 2020(2020), 236-237 vom: 12. Okt., Seite 29-46 |
| Übergeordnetes Werk: |
volume:2020 ; year:2020 ; number:236-237 ; day:12 ; month:10 ; pages:29-46 ; extent:18 |
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10.1515/sem-2019-0025 |
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NLEJ248181335 |
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| 520 | |a This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. | ||
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10.1515/sem-2019-0025 doi articles2015-2020.pp (DE-627)NLEJ248181335 DE-627 ger DE-627 rakwb Lee, Yunhee verfasserin aut Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water De Gruyter 2020 18 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. Walter de Gruyter Online Zeitschriften narrative image diagram metaphor diagrammatic reasoning corollarial reasoning theorematic reasoning allegory The Shape of Water Cobley, Paul verfasserin aut Enthalten in Semiotica Berlin [u.a.] : Mouton de Gruyter, 1969 2020(2020), 236-237 vom: 12. Okt., Seite 29-46 (DE-627)NLEJ248236822 (DE-600)2044265-8 1613-3692 nnns volume:2020 year:2020 number:236-237 day:12 month:10 pages:29-46 extent:18 https://doi.org/10.1515/sem-2019-0025 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 2020 2020 236-237 12 10 29-46 18 |
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10.1515/sem-2019-0025 doi articles2015-2020.pp (DE-627)NLEJ248181335 DE-627 ger DE-627 rakwb Lee, Yunhee verfasserin aut Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water De Gruyter 2020 18 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. Walter de Gruyter Online Zeitschriften narrative image diagram metaphor diagrammatic reasoning corollarial reasoning theorematic reasoning allegory The Shape of Water Cobley, Paul verfasserin aut Enthalten in Semiotica Berlin [u.a.] : Mouton de Gruyter, 1969 2020(2020), 236-237 vom: 12. Okt., Seite 29-46 (DE-627)NLEJ248236822 (DE-600)2044265-8 1613-3692 nnns volume:2020 year:2020 number:236-237 day:12 month:10 pages:29-46 extent:18 https://doi.org/10.1515/sem-2019-0025 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 2020 2020 236-237 12 10 29-46 18 |
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10.1515/sem-2019-0025 doi articles2015-2020.pp (DE-627)NLEJ248181335 DE-627 ger DE-627 rakwb Lee, Yunhee verfasserin aut Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water De Gruyter 2020 18 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. Walter de Gruyter Online Zeitschriften narrative image diagram metaphor diagrammatic reasoning corollarial reasoning theorematic reasoning allegory The Shape of Water Cobley, Paul verfasserin aut Enthalten in Semiotica Berlin [u.a.] : Mouton de Gruyter, 1969 2020(2020), 236-237 vom: 12. Okt., Seite 29-46 (DE-627)NLEJ248236822 (DE-600)2044265-8 1613-3692 nnns volume:2020 year:2020 number:236-237 day:12 month:10 pages:29-46 extent:18 https://doi.org/10.1515/sem-2019-0025 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 2020 2020 236-237 12 10 29-46 18 |
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10.1515/sem-2019-0025 doi articles2015-2020.pp (DE-627)NLEJ248181335 DE-627 ger DE-627 rakwb Lee, Yunhee verfasserin aut Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water De Gruyter 2020 18 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. Walter de Gruyter Online Zeitschriften narrative image diagram metaphor diagrammatic reasoning corollarial reasoning theorematic reasoning allegory The Shape of Water Cobley, Paul verfasserin aut Enthalten in Semiotica Berlin [u.a.] : Mouton de Gruyter, 1969 2020(2020), 236-237 vom: 12. Okt., Seite 29-46 (DE-627)NLEJ248236822 (DE-600)2044265-8 1613-3692 nnns volume:2020 year:2020 number:236-237 day:12 month:10 pages:29-46 extent:18 https://doi.org/10.1515/sem-2019-0025 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 2020 2020 236-237 12 10 29-46 18 |
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Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water |
| abstract |
This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. |
| abstractGer |
This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. |
| abstract_unstemmed |
This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. |
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