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Abstract
This paper focuses on iconic language as an intense, multimodal way of communication, and, more concretely, on representations endowed with an ‘echoic nature’ that have had the power to convey deeply emotional and persuasive messages in different contexts. After briefly reviewing the various epistemological approaches that have dealt with symbolism in art, two images of archetypal women, repeatedly recreated in various sorts of locative and temporal spaces, will be analysed from the pragmatic-cognitive perspective of Sperber & Wilson’s Relevance Theory (1986, 1995). The first echoic representation has its source in a poster with one of the most well-known faces of US propaganda, Rosie Will Monroe’s, calling for women’s work effort in order to help their country win the war, with the moving advertising slogan “We can do it”. The other model is based on the image of Frida Kahlo who won fame with her pictorial work, in spite of being partially eclipsed by her famous husband, the Mexican muralist Diego Rivera; the portrayal of her “long-suffering self” (egotistical echoicity) and her polemic and eccentric biography turned her into an icon of art, revolution and feminism.
Highlights
The relevance of symbolic repertoiresIn contemporary philosophy, symbolic thinking1 has been the object of study of different hermeneutic approaches derived from Ernst Cassirer‟s philosophy of „symbolic forms‟ (1953), as well as that by Hans G
Let‟s illustrate all these contributions with the example of a well-known portrait by the American painter Grant Wood that has led to the creation of a great number of relevant echoic representations, „American Gothic‟ (1930)4
Figure 9. „Rainbow Rosie the Riveter‟ URL: Figure 10. „Gay Marriage in Iowa‟, by David Fitzsimmons, U.S The Arizona Daily Star (04/08/2009) Fig. 9 presents an ecophanic representation in which the intensity of Rosie‟s iconic-verbal message is used as a means to support minority rights
Summary
Symbolic thinking has been the object of study of different hermeneutic approaches derived from Ernst Cassirer‟s philosophy of „symbolic forms‟ (1953), as well as that by Hans G. The portions of reality art „extracts‟ are not offered to a passive observer, but demands an active contribution from this For both Cassirer and Gadamer, symbols move us away from crude sensations; if ordinary sensory perception is limited by the characteristics of the senses, aesthetic perception is enriched by its infinite possibilities of choice and combination of entities and relations. The use of the „triad‟ to explain semiosis, the division of signs, the division of semiotics, or the most simple communicative model, has been very productive for a long period of time This theory has had many continuators, such as Charles Morris (1971), for whom the human being is essentially a „symbolic animal‟, and Umberto Eco, who tackles the sign (its meaning, classification, structure, etc.) in Il segno (1973). Non-linguistic utterances have no explicatures (ostensive inferences), which are always linguistic, but only implicatures
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