The issue discussed in this paper, although controversial, is cognitively nontrivial. Namely, we shall be interested in the matter of possibility to use certain semiotic conceptions in research conducted in the area of a certain group of specific sciences, that is humanities. The aim of this work is to show the possibility of adopting in humanities ready-made conceptions of symbol created on the grounds of the analytical philosophy of language and logical semiotics. Also, we wish to outline the actual state (...) of assimilating and using the mentioned philosophical conceptions by scientists who represent the sciences under consideration. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

The terms ”iconic sign” and ”image” are found in a number of works by the representatives of the Lvov-Warsaw School. Its founder, Kazimierz Twardowski, quite early on speaks about image, and although he is not explicit in formulating a theory of image, he does supply the tools for the analysis of its structure — he distinguishes between the content of the representation and its object.