Man in the “Points of Intensity”: Garden as a Space of Self- Identification
The article deals with the issue of semiotic and cognitive potential of a garden as a compositional form (“Ogrody” by Jarosław Iwaszkiewicz). Silva rerum, florilegia, hortus act as its genre presupposition in European artistic tradition. We define the semiotic potential of a “garden” through the sys...
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| Published in: | Respectus philologicus Vol. 26; no. 26 (31); pp. 57 - 67 |
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| Main Author: | |
| Format: | Journal Article |
| Language: | English |
| Published: |
Vilniaus universiteto leidykla / Vilnius University Press
25.10.2014
Vilnius University |
| Subjects: | |
| ISSN: | 1392-8295, 2335-2388 |
| Online Access: | Get full text |
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| Abstract | The article deals with the issue of semiotic and cognitive potential of a garden as a compositional form (“Ogrody” by Jarosław Iwaszkiewicz). Silva rerum, florilegia, hortus act as its genre presupposition in European artistic tradition. We define the semiotic potential of a “garden” through the system of symbolic meanings: garden as a collection, locus amoenus, sphere of potentiality or ordering, garden as a memory space, intellectual space, etc. The garden via a compositional form of this text and the space of thought functions as an iconic sign of memory. Each object of the past, being replaced by a sign, receives localization in our memory and becomes a “text”. This allows us “to read” the past in the absence of an immediate reception. Garden acquires the properties of textuality and a semiotic object. Hence Iwaszkiewicz considers six gardens in “Ogrody” as a model of his life. Memory is a nonlinear space. Therefore, transitions between gardens are only arbitrary, associative. At the same time garden as a compositional form becomes the cognitive tool of identity. Topology of this memory space (configuration of people, books, music, which become signs) is the cognitive map of the “self (selfhood, selfness). The self-referent structures create the illusion: I (the one who writes) is combined with that person from the past (also I), which he recalls. Nonetheless, all narratives about selfhood are only “the map, but not a territory” (A. Korzybski). |
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| AbstractList | The article deals with the issue of semiotic and cognitive potential of a garden as a compositional form (“Ogrody” by Jarosław Iwaszkiewicz). Silva rerum, florilegia, hortus act as its genre presupposition in European artistic tradition. We define the semiotic potential of a “garden” through the system of symbolic meanings: garden as a collection, locus amoenus, sphere of potentiality or ordering, garden as a memory space, intellectual space, etc. The garden via a compositional form of this text and the space of thought functions as an iconic sign of memory. Each object of the past, being replaced by a sign, receives localization in our memory and becomes a “text”. This allows us “to read” the past in the absence of an immediate reception. Garden acquires the properties of textuality and a semiotic object. Hence Iwaszkiewicz considers six gardens in “Ogrody” as a model of his life. Memory is a nonlinear space. Therefore, transitions between gardens are only arbitrary, associative. At the same time garden as a compositional form becomes the cognitive tool of identity. Topology of this memory space (configuration of people, books, music, which become signs) is the cognitive map of the “self (selfhood, selfness). The self-referent structures create the illusion: I (the one who writes) is combined with that person from the past (also I), which he recalls. Nonetheless, all narratives about selfhood are only “the map, but not a territory” (A. Korzybski). The article deals with the issue of semiotic and cognitive potential of a garden as a compositional form (“Ogrody” by Jarosław Iwaszkiewicz). Silva rerum, florilegia, hortus act as its genre presupposition in European artistic tradition. We define the semiotic potential of a “garden” through the system of symbolic meanings: garden as a collection, locus amoenus, sphere of potentiality or ordering, garden as a memory space, intellectual space, etc. The garden via a compositional form of this text and the space of thought functions as an iconic sign of memory. Each object of the past, being replaced by a sign, receives localization in our memory and becomes a “text”. This allows us “to read” the past in the absence of an immediate reception. Garden acquires the properties of textuality and a semiotic object. Hence Iwaszkiewicz considers six gardens in “Ogrody” as a model of his life. Memory is a nonlinear space. Therefore, transitions between gardens are only arbitrary, associative. At the same time garden as a compositional form becomes the cognitive tool of identity. Topology of this memory space (configuration of people, books, music, which become signs) is the cognitive map of the “self (selfhood, selfness). The self-referent structures create the illusion: I (the one who writes) is combined with that person from the past (also I), which he recalls. Nonetheless, all narratives about selfhood are only “the map, but not a territory” (A. Korzybski). В статье рассматривается вопрос о семиотическом и когнитивном потенциале сада как композиционной формы. Материал исследования – повесть Ярослава Ивашкевича «Сады» („Ogrody”). Ее жанровой пресуппозицией в европейской художественной традиции выступают сильвы, вертограды, флорилегии. В качестве означающего сад символизирует ряд абстрактных представлений, связанных с идеей пространственной топологии. Среди них – идея коллекции, жизни как возможностей выбора, жизни как упорядоченности, locus amoenus2, пространство памяти, интеллектуальное пространство и др. Сад, взятый как композиция, становится иконическим отображением памяти. Каждый объект прошлого, замещаясь знаком, обретает местоположение в памяти, превращаясь в текст, что позволяет вновь воспринимать и «прочитывать» прошлое в отсутствие непосредственной рецепции. Сад обретает презумпцию текстуальности и семиотичности. Маршруты движения по памяти не имеют строгой линейной заданности. Отсюда, переходы между шестью садами жизни, о которых пишет Ивашкевич, произвольны, намечены ассоциативно. Одновременно сад как пространственная форма становится когнитивным инструментом самоидентификации. Топология садов памяти (конфигурация людей, книг, музыкальных произведений, ставших знаками-текстами) – это когнитивная карта, отражающая «самость» субъекта (selfhood, selfness). Автореферентные конструкции создают иллюзию совмещения Я (того, кто говорит) с тем Я, который становится объектом речи. Однако нарратив о себе есть только «карта, но не сама территория» (А. Кожибски). |
| Author | Brazgovskaya, Elena |
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| Keywords | самоидентификация семиотика сада Semiotics of Garden иконический знак Self-Identity Jarosław Iwaszkiewicz Ярослав Ивашкевич художественная форма как когнитивная карта Representation Art Form as a Cognitive Map Iconic Image репрезентация |
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| Title | Man in the “Points of Intensity”: Garden as a Space of Self- Identification |
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