The Dialogue Between Semiology and Phenomenology As a Strategy for Analyzing the Literary and Artistic Discourses

According to Husserl's phenomenology, "things" do not have any presence independent of man. In fact the real concept of "things" is a function of our communicating with them. Phenomenology tries to call our attention to the "origin of things", but this is impossible unless we are referred to the "essence" of things. In this process our sensual-perceptual relation to the things is of special importance, because our understanding of things takes form without any cognitive presupposition.
On the basis of the above-mentioned sensual-perceptual understanding, a kind of existential and ontological semio-semantic approach replaces the already dominant semiotics which possesses a formalist and structuralist character. Signs are then no longer the mechanical entities to depend on the interaction of signifier and signified and it will be thus impossible for the semiology to be self-contained, because the "sign" finds its meaning not as it is, but as perceived by man and according to his situation in a phenomenal context. This evolution owes its existence to what Greimas calls "existential deficiency", and it is indeed for the reason of compensating this deficiency that "discourse" turns out to be a context for phenomenal and instantaneous experience of the speaker of "things" as they are manifested to him.
This paper is to determine not only the function of phenomenology in the sign-related studies but also its contribution to the emerging of the sensual-perceptual semio-semantics out of classic semiology.