Is facial expression a different kind of thinking, or a different kind of speech? (For Plato’s Apology)

Abstract

According to ancient teaching, idea are the basis of all knowledge. All the work of Plato, can be reduced to one word – Eidos – eternal meanings. Empiricism based positivism brought them to the thing mysticism of Plato’s philosophical metaphysics. But one thing is to ban another to overcome. When in the 20th century M.Heidegger best works of art is considered a message from an unknown to us being, he thereby acknowledges the existence of meaning in eternity. M.Heidegger concept arises from Plato’s metaphysical assumption.
How is aesthetic creation related to universal concepts that are inaccessible to everyone? In the 20th century, semiotics, shaped by the work of F. Saussure and C. Peirce, aroused scientific interest in signs. The work discusses the representation of a literary text as a semiotic system. According to Platin and later Heidegger, the human soul connects physical reality with invisible eternity. The semiotic system of artistic forms, subconsciously formed during the creation of art, introduces us to universal concepts.The semiotic system of artistic forms, subconsciously formed during the creation of art, introduces us to universal concepts. Artistic and scientific depictions of the world are directed towards universal truths; the former shows it to us by creating an artistic image, and the latter explains it to us by establishing regularities. The same meaning can be contained in different texts, including texts of different genres. The essence of J. Lacan’s psychological-philosophical concept: „Life is an inexplicable game of symbols”, is shown through faces in J. Karchkhadze’s novel „Zebulon”. The same content is conveyed by the figure of speech in Galaktioni’s poem „The Night of Mtatsminda”.