Abstract

In this article the philosophy of Merleau-Ponty is considered in the methodological aspect as an approach to the study of the problem of meaning in the visual arts. The author's hypothesis is that the ideas of Merleau-Ponty can serve as a philosophical justification for the aesthetic theory of tropos in the visual arts. The author of the article comes to the conclusion that the meta-aesthetic function of painting, grounded by the philosopher, was not a consequence of her representative nature, but a form of actualization of unrepresentative aspects of art in the artistic space of the twentieth century. A careful reading of the late works of Merleau-Ponty convinces us that his phenomenology of the artistic language allows us not to confine ourselves to semiotic models in the study of the problem of language in art, transforming it into a problem of the author's style, which is considered by philosopher on the basis of the diacritical concept of meaning as difference, formed in the phenomenology of Merleau-Ponty under the influence of Saussure's theory. Unlike the semiotic approach to the communicative function of the work, which is secondary in art, the diacritical concept of meaning by Merleau-Ponty is oriented toward explication of the creative function of the work, which leads to semantic changes. The article focuses on the Merlot-Ponty's concept of perceptual meaning. Art as a privileged way of manifesting of perceptual meaning is based on the mechanism of the dual vision of "fact" and "essence", revealed by Merleau-Ponty, in which "fact" stands in the status of norm, and "essence" is deviation from the norm, which leads to the formation of meaning. The author of the article traces the correlation of the positions of rhetorical theory, according to which the ratio of the norm and the deviation from it forms the structure of the rhetorical figure and the mechanism of the generation of the indirect meaning, and the diacritical concept of meaning as the difference proposed by Merleau-Ponty, which indicates the relevance of it as a theoretical tool for studying the phenomenon of tropos in art.