This paper focuses on one of C. S. Peirce's criticisms of G. W. F. Hegel: namely, that Hegel neglected to give sufficient weight to what Peirce calls "Secondness", in a way that put his philosophical system out of touch with reality. The nature of this criticism is explored, together with its relevant philosophical background. It is argued that while the issues Peirce raises go deep, in some respects Hegel's position is closer to his own than he may have realised, whilst (...) in others that criticism can be resisted by the Hegelian. (shrink)

Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...) world of existence, like the world of images, chaos or cosmos? Erwin Panofsky's1 great merit consists in having understood that, in spite of its confused appearance, the world of images is an ordered world and that it is possible to do the history of art as the history of images. In order to do this, he had to begin, as indeed he did, with the demonstration that classical art, in spite of the deep-rooted theoretical certitude, is also an art of the image; its forms are nothing if not images to which one tries to attribute the consistency of concepts, with the sole result of the demonstrating that even concepts are images and that the intellect is still another sector or segment of the image. · 1. See, e.g., Erwin Panofsky, Meaning in the Visual Art: Papers in and on Art History ; Studies in Iconology: Humanistic Themes in the Art of the Renaissance ; Problems in Titian, Mostly Iconographic ; Idea: Ein Beitrag zur Begriffsgeshicte der älteren Kunsttheorie [Idea: a concept in art theory, trans. Joseph J. S. Peake ]. Giulio Carlo Argan, who has seriously influenced the course of art history and criticism in postwar Italy, is professor of modern art at the University of Rome. He has written on Fra Angelico, Botticelli, Borromini, Brunelleschi, and Gropius and three volumes of critical essays on modern art. His Skira volume on Baroque art, Europe of the Capitals, is his only major work published in English. "Ideology and Iconology" originally appeared in Italian in the journal Storia dell'arte, which he edits, and in Psicon. Rebecca West, translator of this article and assistant professor of Romance Languages and Literatures at the University of Chicago, presently is collaborating on a translation of Dario Fo's theater. She has translated "Narrative Structures and Literary History" by Cesare Segre, for the Winter 1976 issue of Critical Inquiry. (shrink)

1 This article examines Peirce's semiotic philosophy and its development in the light of his characterisations of "representationism" and "presentationism". In his definitions of these positions, Peirce overtly pits the representationists, who treat percepts as representatives, against the presentationists, according to whom percepts do not stand for hidden realities. The article shows that Peirce's early writings—in particular the essay "On the Doctrine of Immediate Perception" and certain key texts from the period 1868–9—advocate an inferentialist approach clearly associated with representationism. However, (...) although Peirce continues to deny the cognitive import of first impressions throughout his philosophical career, the new view of perception that emerges in the early 1900s indicates a significant move in the direction of a presentationist point of view, a development partly corresponding to changes in his theory of categories. The strongest evidence for this reading is found in Peirce's contention that the percept is not a sign. The discussion concludes with considerations of possible objections and alternatives to the proposed interpretation in addition to some reflections on the consequences and relevance of Peirce's turn toward presentationism. (shrink)