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What is the sign in the classical age? For what
changed in the first half of the seventeenth century, and for a long time -- maybe
to be, to our time, is a structure of signs, the conditions under
which they exercise their strange function; it is what
causes them to life as characters among so many other well-known
or visible things; it is their essence. On the verge of a classic
age, the sign ceases to be a figure of the world; and it ceases to be
due to the fact that he stands by a strong and
secret relations of similarity or affinity.
Classicism determines the sign according to three variables.<$F
Logique de Port-Royal, partie I, ch.IV.>. Origin of communication:
a sign may be natural (as the reflection in the mirror ukazyaet
for what it reflects) or conventional (as the word for the group
people can mean the idea). Type of communication: a sign may belong to
to the aggregate to which it points (as healthy
is part of health, o which he testifies), or
to be separated from it (as the figures of the old Testament are
distant signs of the Incarnation and Redemption). Reliability
communication: a sign may be so constant that his loyalty
there is no doubt (as the breath indicates
life), but it can be simply probable (as pallor with
of pregnancy). None of these forms of communication do not imply a
the need of similarity; even the natural sign does not require
this screams -- it's spontaneous characters, but not the analogues of fear;
or, as it says Berkeley visual sensations are
signs of touch established by God, and yet they
not in any way resemble<$F Berceley. Essai d'une nouvelle
theorie df la vision (Euvres choisies, Paris, 1944, t. 1, p.
163-164).>. These three variables replace resemblance in order
to determine the effectiveness of the sign in the field of empirical
knowledge.
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