LINGUOSEMIOTIC MARKERS OF PROFESSIONAL ART STUDIES DISCOURSIA

Abstract

Art studies discourse is often the subject of research of those scholars who focus mainly on revealing the specific characteristics of interpretative discourse by art critics, and as a result, there is a threat of subjectivity and deviation from the plausible content of the information obtained. An appeal to the analysis of the French-language art discоursia of the artists themselves, not observed previously in scientific philological research, at least on the material of the French language. shortens the path to the discovery of truth, promotes a sense of credibility and at the same time expands the scope of philological art studies. According to M. Foucault’s theory, “discoursia” is a tool of cognition, which represents a rather unconventional approach to the analysis of culture. The space of “discursive practices” is conditioned by the possibility of combining in a language chronologically different events that slip out of the power of cultural events, reproducing the dynamics of the real. Time permeates the utterance, is rooted in it, turns into the perception of some irresistible, inevitable sequence in time. In the collected corpus of factual material, which is represented by the discursive practices of modernist artists, four key concepts were identified: couleur, forme, philosophie, sensibilté. Conceptual analysis has promoted identification of specific linguosemiotic signs that reflect the peculiarities of professional art studies, philosophical reasoning and emotional perception of the world around. In the context of professional art studies discoursia, the word is often filled with meaningful, individual, authorial meanings, which is explained by the peculiarity of their perception of the world around in space, shapes, lines and colour. The collected corpus of factual material proved the existence of three types of semiotic signs to denote the dominant meaningful parts of statements: Art-forming, Intellectforming and Sentiment-forming signs. It is the synergetic effect of the interaction of image-forming signs that leads to the creation of a specific sense of professional art discoursia. We consider expanding the research space of art studies discursive practices to be prospective.