There is something called ‘art’ that distinguishes some existent objects from all the other objects. Why do these particular objects, touching our senses, present themselves as different? The thesis of this article is that it exists a way of ‘treating’ each single unit of language by adding spontaneously a new meaning to that of the terme used ‘in a colloquial conversation or in a scientific discussion’ (Schütz, 1996). When we are in front of a complex concept, symbols are manipulated in such a way that they evoke a variety of meanings, a polysemy that ‘wants’ to be ambiguous (Griswold, 1997). This ‘polysemic’ propensity is considered here as a primary ‘urgency’ of the personal and social experience: in this framework, art becomes a particularly effective tool to reduce the gap that exists between experience and communication.
|Digital Object Identifier (DOI):||http://dx.doi.org/10.23737/metis2019_2|
|Titolo:||La comunicazione artistica come urgenza polisemica|
|Appare nelle tipologie:||1.1 Articolo in rivista|