The question of form in Peirce’s early thought constitutes the starting point of his reflection on the connection models of the parts of continua. I will show how, interpreted as reason rather than as cause, form becomes a productive event. In this productive event the form, as “condition of possibility of the relation of the elementary parts of representation” becomes a modeling dynamic which, starting from interpretation, allows initiation of the process of the passage from substance to being. The problem (...) of this passage is the problem of a continuity that cannot be thought by the classical linear model of time. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 229-244.

The focus of this paper is Derrida's idea of rhythm. I will analyse how the idea of rhythm can work in a contemporary semiotic, and in particular in a semiotic of interpretation, in order to eliminate the confusion between interpretation and semantics and to constitute a syntactic model of interpretation. In ‘The Double Session’ Derrida uses the Greek word rytmos in order to indicate the ‘law of spacing’. Rytmos is a form that is always about to change or to break (...) up, because it is not a definitive form. It is a not-proper form. But when I say here that a rhythmic relation is a not-proper form, the word ‘proper’ is intended in the sense of Heidegger's Eigentlichkeit. In this sense a not-proper relation is a relation which is not grounded on a justification. What I'm trying to demonstrate in this essay is that the rhythmic relation discovers another sense of the word ‘proper’, another meaning, which is far from Heidegger's Eigentlichkeit. In this sense, it is possible to say that the problem of a rhythmic relation is the problem of a relation between ‘two’ that is not justified by the third element which makes it proper or eigentlich. (shrink)