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.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Harrison, A., 1978, “Making and Thinking: A Study of Intel- ligent Activities,” Hackett, Indianapolis.
Hocutt, Max 0., 1962, The Logical Foundations of Peirce’s Aesthetics, Journal of Aesthetics and Art Criticism, 21: 157–166.
Kneller, G. F., 1965, “The Art and Science of Creativity,” Holt, Rinehart and Winston, New York.
Matejka, L. and Titunik, I.R., eds., 1976, “Semiotics of Art: Prague School Contributions,” MIT University Press, Cambridge.
Peirce, C. S., 1965–6, “Collected Papers, 8 volumes,” C. Hartshorne and P. Weiss, eds., Harvard University Press, Cambridge.
Shapiro, M. and Shapiro, M., 1976, “Hierarchy and the Structure of Tropes,” Indiana University Press, Bloomington.
Tatarkiewicz, W., 1977, Creativity: History of the Concept, in: “Dialectics and Humanism,” 4: 48–63.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 1982 Plenum Press, New York
About this chapter
Cite this chapter
Rostankowski, C.C. (1982). Semiotic and Creativity. In: Semiotics 1980. Springer, Boston, MA. https://doi.org/10.1007/978-1-4684-9137-1_43
Download citation
DOI: https://doi.org/10.1007/978-1-4684-9137-1_43
Publisher Name: Springer, Boston, MA
Print ISBN: 978-1-4684-9139-5
Online ISBN: 978-1-4684-9137-1
eBook Packages: Springer Book Archive