Estudos Semióticos (ISSN 1980-4016)
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The Hobbit in prose and comics: exploring intersemiotic relations
No full textThis paper investigates the intersemiotic relations between J.R.R. Tolkien\u27s prose novel The Hobbit (1937) and the homonym graphic novel by David Wenzel and Charles Dixon (1990). The study aims to explore the specific characteristics and challenges involved in adapting a literary work from a verbal to a verbo-visual sign system. Our approach involved a review of relevant bibliographical sources and an analytical-expository method. We first contextualized the historical development of Anglophone comics, drawing on the works of Babic (2016) and Kukkonen (2013). We then examined comics as a distinct sign system, utilizing Groensteen’s (2015) theoretical perspectives to understand their unique elements. Afterwards, we explored key concepts of intersemiotic adaptation, translation, and transposition as respectively articulated by Eco (2001), Jakobson (1995), and Plaza (1987), among other scholars. By comparing these theoretical frameworks with the characteristics of both works, we aimed to determine the most accurate description of their relationship. Our analysis concluded that the relationship between the novel and the graphic novel is best characterized as an intersemiotic transposition. This finding aligns with Plaza’s (1987) concept of Index Translation and is supported by arguments on the role of the translator as discussed by Eco (2001), Pina (2014), and Plaza (1987).This paper investigates the intersemiotic relations between J.R.R. Tolkien\u27s prose novel The Hobbit (1937) and the homonym graphic novel by David Wenzel and Charles Dixon (1990). The study aims to explore the specific characteristics and challenges involved in adapting a literary work from a verbal to a verbo-visual sign system. Our approach involved a review of relevant bibliographical sources and an analytical-expository method. We first contextualized the historical development of Anglophone comics, drawing on the works of Babic (2016) and Kukkonen (2013). We then examined comics as a distinct sign system, utilizing Groensteen’s (2015) theoretical perspectives to understand their unique elements. Afterwards, we explored key concepts of intersemiotic adaptation, translation, and transposition as respectively articulated by Eco (2001), Jakobson (1995), and Plaza (1987), among other scholars. By comparing these theoretical frameworks with the characteristics of both works, we aimed to determine the most accurate description of their relationship. Our analysis concluded that the relationship between the novel and the graphic novel is best characterized as an intersemiotic transposition. This finding aligns with Plaza’s (1987) concept of Index Translation and is supported by arguments on the role of the translator as discussed by Eco (2001), Pina (2014), and Plaza (1987)
Rhétorique visuelle et énonciation dans le domaine de l’intelligence artificielle générative multimodale
No full textThis article presents some proposals in visual rhetoric based on the contributions of the Group µ and Greimasian and post-Greimasian semiotics and tests them in the visual productions of generative AI. In the light of Greimasian and post-Greimasian semiotics, this article analyzes two emblematic cases that refer to media practices of image generation: an image that won a photography award and an image of an influencer that circulates on various social media platforms, such as Instagram. In our study, we use the concepts of plastic categories, figurativity, and enunciative praxis. We also draw on recent literature on generative artificial intelligence and, in particular, on word-to-image translation. Our goal is to understand how the Greimasian and post-Greimasian perspectives on rhetoric can help us analyze the phenomenon of generative artificial intelligence. The analysis of these two images revealed, on the one hand, some visible traces of the instauration process, and on the other hand, the instauration process can only be perceived through the record of the work of algorithms and it is not visible at the naked eye. Rhetoric provided us with resources to understand the phenomenon of image manipulation in its game of simulacra based on the relationship between truth, secrecy, and falsehood and the conflict in the enunciative contract between enunciator and enunciatee.L’article présente les avancées de la rhétorique visuelle à partir des contributions du Groupe µ et de la sémiotique greimassienne et post-greimassienne et les mets à l’épreuve des productions visuelles des IA génératives. À la lumière de la sémiotique greimassienne et post-greimassienne, nous avons étudié deux cas emblématiques qui font référence aux pratiques médiatiques de génération d’images : une image qui a remporté un prix de photographie et une image d’un mannequin circulant sur plusieurs réseaux sociaux, tels qu’Instagram. Pour notre étude, nous utilisons les concepts de catégories plastiques, de figurativité et de praxis énonciative. Nous nous appuyons aussi sur la récente littérature concernant l’intelligence artificielle générative et notamment la traduction mot-image. Notre objectif est de comprendre comment la perspective greimassienne et post-greimassienne sur la rhétorique peut nous aider à analyser le phénomène de l’intelligence artificielle générative. L’analyse de l’énoncé visuel a révélé, dans certains cas, des traces de l’acte d’instauration visibles à l’œil nu, mais dans d’autres la génétique ne peut être perçue que grâce à la mémoire de sa production enregistrée dans le travail des algorithmes et ceci en analysant les pratiques de circulation. La rhétorique nous a fourni des ressources aidant à comprendre le phénomène de manipulation d\u27images dans son jeu de simulacres fondé sur le rapport entre vérité, secret et fausseté et du conflit dans le contrat énonciatif entre énonciateur et énonciataire.L’article présente les avancées de la rhétorique visuelle à partir des contributions du Groupe µ et de la sémiotique greimassienne et post-greimassienne et les mets à l’épreuve des productions visuelles des IA génératives. À la lumière de la sémiotique greimassienne et post-greimassienne, nous avons étudié deux cas emblématiques qui font référence aux pratiques médiatiques de génération d’images : une image qui a remporté un prix de photographie et une image d’un mannequin circulant sur plusieurs réseaux sociaux, tels qu’Instagram. Pour notre étude, nous utilisons les concepts de catégories plastiques, de figurativité et de praxis énonciative. Nous nous appuyons aussi sur la récente littérature concernant l’intelligence artificielle générative et notamment la traduction mot-image. Notre objectif est de comprendre comment la perspective greimassienne et post-greimassienne sur la rhétorique peut nous aider à analyser le phénomène de l’intelligence artificielle générative. L’analyse de l’énoncé visuel a révélé, dans certains cas, des traces de l’acte d’instauration visibles à l’œil nu, mais dans d’autres la génétique ne peut être perçue que grâce à la mémoire de sa production enregistrée dans le travail des algorithmes et ceci en analysant les pratiques de circulation. La rhétorique nous a fourni des ressources aidant à comprendre le phénomène de manipulation d\u27images dans son jeu de simulacres fondé sur le rapport entre vérité, secret et fausseté et du conflit dans le contrat énonciatif entre énonciateur et énonciataire
La métaphore en tous sens
No full textThis text analyzes metaphor from different perspectives, showing that it is not limited to language but also extends into painting, music, and scientific knowledge. It highlights the conscious approach of artists, especially in the creation of visual metaphors, as opposed to abstract pairings that are difficult to articulate. Metaphor appears as a form of de-categorization, where one traces back to a common root to understand the relationships between concepts or objects, often illustrated by the Tree of Porphyry. Semantic and linguistic structures help formalize these connections, but metaphor in the arts goes beyond simple categorical logic, belonging instead to a sensory and intuitive dynamic. The reflection thus shows that whether in painting, music, or science, these processes involve a deep interaction between body and thought, connecting a wide range of human activities within a unified vision of knowledge.Ce texte analyse la métaphore sous différentes perspectives, montrant qu’elle ne se limite pas au langage mais traverse aussi la peinture, la musique et la connaissance scientifique. Il met en évidence la démarche consciente des artistes, notamment dans la création de métaphores visuelles, en opposition aux appariements abstraits difficiles à expliciter. La métaphore apparaît comme une forme de dé-catégorisation, où l’on remonte vers une racine commune pour comprendre les relations entre concepts ou objets, souvent illustrée par l’arbre de Porphyre. La structure sémantique et linguistique permet de formaliser ces rapprochements, mais la métaphore dans les arts dépasse la simple logique catégorielle, s’inscrivant dans une dynamique sensorielle et intuitive. La réflexion montre ainsi que, qu’on parle de peinture, de musique ou de sciences, derrière ces processus se trouve une interaction profonde par le corps et la pensée, reliant tout un ensemble d’activités humaines dans une vision unifiée du savoir.Ce texte analyse la métaphore sous différentes perspectives, montrant qu’elle ne se limite pas au langage mais traverse aussi la peinture, la musique et la connaissance scientifique. Il met en évidence la démarche consciente des artistes, notamment dans la création de métaphores visuelles, en opposition aux appariements abstraits difficiles à expliciter. La métaphore apparaît comme une forme de dé-catégorisation, où l’on remonte vers une racine commune pour comprendre les relations entre concepts ou objets, souvent illustrée par l’arbre de Porphyre. La structure sémantique et linguistique permet de formaliser ces rapprochements, mais la métaphore dans les arts dépasse la simple logique catégorielle, s’inscrivant dans une dynamique sensorielle et intuitive. La réflexion montre ainsi que, qu’on parle de peinture, de musique ou de sciences, derrière ces processus se trouve une interaction profonde par le corps et la pensée, reliant tout un ensemble d’activités humaines dans une vision unifiée du savoir
Un mito en ocaso y la deriva decisoria del actante colectivo en elcuento “El crepúsculo del diablo”, de Rómulo Gallegos
No full textAnalysts of the work of the Venezuelan Rómulo Gallegos affirm that the author\u27s stories were experiments for the creation of novels and that all his work is dominated by the barbarism/ civilization dichotomy. But the semiotic analysis of the story The Devil\u27s Twilight shows that the tension between such values has inflections beyond the consolidated parameters. This follows the idea that the analysis of semiotic objects can be subject to parameters and conventions that are difficult to question, but rereading can detail how the text summons elements of the cultural heritage and makes present situations from the life of the current reader. This would understand the content of what is narrated by the significant object but would also recognize the agitations of the present reality. Here, the research has been carried out with two reading modes of reciprocal impact. In the studium, the internal organization of the text is addressed to establish, with Greimasian semiotics, the correlations between figures, actions and values contained in the narrative predicate. The punctum observes how the constituents of the verbal statement summon the cultural tensions that underlie the work, but also those that the reader can infer by correlating the statement with the surrounding reality. Both procedures support the hypothesis that history is about the decline of a myth that depends on the decisions of a people who are hesitant and coerced in the face of the project of modernity.Los analistas de la obra del venezolano Rómulo Gallegos afirman que los cuentos del autor eran experimentos para la creación de las novelas y que toda su obra está dominada por la dicotomía barbarie/ civilización. Pero el análisis semiótico del cuento El crepúsculo del diablo muestra que la tensión entre tales valores tiene inflexiones más allá de los parámetros consolidados. Esto sigue la idea de que el análisis de objetos semióticos puede estar sometido a parámetros y convenciones difícilmente cuestionables, pero las relecturas pueden detallar cómo el texto convoca elementos del acervo cultural y hace presente situaciones de la vida del lector actual. Este comprendería lo enunciado en el objeto significante como el reconocimiento de las agitaciones de la realidad presente. Aquí, la investigación se ha realizado con dos modos de lectura de impacto recíproco. En el studium se aborda la organización interna del texto para establecer, con la semiótica greimasiana, las correlaciones entre figuras, acciones y valores contenidos del predicado narrativo. El punctum observa cómo los constituyentes del enunciado verbal convocan las tensiones culturales que subyacen en la obra, pero también las que el lector puede inferir al correlacionar lo enunciado con la realidad circundante. Ambos procedimientos soportan la hipótesis de que el cuento atañe al ocaso de un mito que pende de las decisiones de un pueblo vacilante y coaccionado ante el proyecto de la modernidad.Los analistas de la obra del venezolano Rómulo Gallegos afirman que los cuentos del autor eran experimentos para la creación de las novelas y que toda su obra está dominada por la dicotomía barbarie/ civilización. Pero el análisis semiótico del cuento El crepúsculo del diablo muestra que la tensión entre tales valores tiene inflexiones más allá de los parámetros consolidados. Esto sigue la idea de que el análisis de objetos semióticos puede estar sometido a parámetros y convenciones difícilmente cuestionables, pero las relecturas pueden detallar cómo el texto convoca elementos del acervo cultural y hace presente situaciones de la vida del lector actual. Este comprendería lo enunciado en el objeto significante como el reconocimiento de las agitaciones de la realidad presente. Aquí, la investigación se ha realizado con dos modos de lectura de impacto recíproco. En el studium se aborda la organización interna del texto para establecer, con la semiótica greimasiana, las correlaciones entre figuras, acciones y valores contenidos del predicado narrativo. El punctum observa cómo los constituyentes del enunciado verbal convocan las tensiones culturales que subyacen en la obra, pero también las que el lector puede inferir al correlacionar lo enunciado con la realidad circundante. Ambos procedimientos soportan la hipótesis de que el cuento atañe al ocaso de un mito que pende de las decisiones de un pueblo vacilante y coaccionado ante el proyecto de la modernidad
Julio Bressane e as conversações cinematográficas: iconizações do signo verbal
No full textO texto busca descrever como as conversações cinematográficas dos filmes de Julio Bressane operam uma iconização do signo verbal. Tal iconização revela devires visuais e sonoros que povoam as palavras no cinema. Para tanto, desdobramos diferentes correntes de interpretação do ícone peirceano, perpassando a iconicidade como semelhança em Christian Metz e em Gilles Deleuze e a iconização como produção de diferença a partir de Décio Pignatari. Por fim, analisamos blocos cinematográficos dos filmes Brás Cubas (1985) e Cleópatra (2007), evidenciando que as iconizações visuais e sonoras da fala não sobrevivem alheias a um processo de simbolização verbal das conversações, garantindo a continuidade da semiose no cinema.This text seeks to describe how the cinematic conversations in Julio Bressane\u27s films operate an iconization of the verbal sign. This iconization reveals the visual and sound becomings that populate words in cinema. To this end, we unfold different currents of interpretation of the Peircean icon, including iconicity as similarity in Christian Metz and Gilles Deleuze and iconization as the production of difference in Décio Pignatari. Finally, we analyzed cinematographic blocks from the films Brás Cubas (1985) and Cleópatra (2007), showing that the visual and sound iconizations of speech do not survive apart from a process of verbal symbolization of conversations, guaranteeing the continuity of semiosis in cinema
Between slime, xenomorphs, and machines: hybrid alien iconicities and biosignature in the Alien franchise
No full textEste artigo tem como objetivo analisar e relacionar semioticamente as iconicidades de alienígenas de filmes da franquia Alien, com o intuito de identificar traços comuns nas qualidades visuais que compõem a elaboração desses seres extraterrestres. Parte-se da ideia de bioassinatura, entendida como banco de dados e inspiração no mundo biológico da Terra para criação e morfologia dos alienígenas. Entende-se ícone a partir da semiótica de Charles Sanders Peirce, como um signo que estabelece uma relação de semelhança com as características de um objeto (CP 1.369). Trata-se de um signo originário “cuja virtude significativa se deve simplesmente à sua qualidade” (CP 2.92). Os principais aspectos desta investigação são as sensorialidades construídas nos signos por meio da visualidade plástica dos extraterrestres. Surge uma hipótese: a indústria cinematográfica funciona como um laboratório de semiose infinita e continuum de aliens. Os E.T.s que vieram cronologicamente antes se misturam e aglutinam — literalmente, em simbiose e bioassinatura — com os posteriores. Todos se alimentam, de alguma forma, do embrião/ícone comum de Necronomicon de H. R. Giger e Alien, o Oitavo Passageiro. Assim, nascem seres híbridos da conjunção corpórea entre metais, silício, vegetais, peles, tentáculos e gosmas: uma estética de colisão de corpos e materialidades.This article aims to analyze the iconicities of aliens in the Alien film franchise, with the goal of identifying common traits in the visual qualities that shape the construction of these extraterrestrial beings. The concept of biosignature is used as a starting point, understood as both a database and a source of inspiration from Earth\u27s biological world for the creation and morphology of alien life forms. Iconicity, according to Charles Peirce, is defined as a sign that establishes a relationship of similarity with the characteristics of an object (CP 1.369). Icon is a type of original sign "whose significant virtue lies simply in its quality" (CP 2.92). The main focus of this investigation is the sensorialities constructed in these signs through the plastic visuality. A hypothesis arises: the film industry functions as a laboratory of semiosis and an alien continuum. The extraterrestrial beings that appeared earlier in cinematic chronology merge and agglutinate—literally, in symbiosis and biosignature—with those that came later. All of them draw from the common embryo/icon of H. R. Giger’s Necronomicon and Alien. Hybrid creatures are born from the corporeal conjunction of metal, silicon, plants, skins and slime: a collision between bodies and materialities
“Ainda somos os mesmos”?: iconicidade, gestos e ética na apropriação do avatar de Elis Regina
No full textEste artigo aborda as implicações semióticas dos avatares gerados por IA de figuras culturais falecidas, examinando especificamente como a tecnologia deepfake funciona como uma forma de tradução intersemiótica que levanta questões sobre representação icónica, memória cultural e consequências pragmáticas. Este trabalho propõe uma análise semiótica dos gestos de Elis Regina, com foco no recente avatar digital da cantora criado para uma campanha publicitária da empresa automobilística de vendas de novas gerações de um modelo clássico, as Kombis. Com base na semiótica triádica de Peirce — particularmente os seus conceitos de iconicidade (CP 2.247-249), iconicidade operacional (Stjernfelt 2007), experiência colateral (CP 8.179) e interpretante emocional (CP 5.475) — analisamos como os avatares de IA funcionam como dicisignos que fazem múltiplas afirmações sobre identidade e presença. Analisamos as transformações gestuais por meio da mediação humana e tecnológica, aplicando os conceitos peircianos de semiótica ilimitada, continuidade (synechism) e a quebra de hábitos ao comercial da Volkswagen de 2023, que apresenta um avatar de Elis Regina gerado por IA atuando com a filha Maria Rita. A nossa análise triádica examina: (1) mimetismo gestual icónico, (2) geração de interpretantes através de modos emocionais/energéticos/lógicos e (3) consequências pragmáticas-legais-éticas.This paper addresses the semiotic implications of AI-generated avatars of deceased cultural figures, specifically examining how deepfake technology functions as a form of intersemiotic translation that raises questions about iconic representation, cultural memory, and pragmatic consequences. This work proposes a semiotic analysis of Elis Regina\u27s gestures, focusing on the singer\u27s recent digital avatar created for an advertising campaign by the automotive company selling new generations of a classic model, the Kombi van. Based on Peirce\u27s triadic semiotics—particularly his concepts of iconicity (CP 2.247-249), operational iconicity (Stjernfelt 2007), collateral experience (CP 8.179), and emotional interpretant (CP 5.475)—we analyze how AI avatars function as dicisigns that make multiple claims about identity and presence. We analyze gestural transformations through human and technological mediation, applying Peirce\u27s concepts of unlimited semiotics, synechism, and habit breaking to the 2023 Volkswagen commercial, which features an AI-generated avatar of Elis Regina acting with her daughter Maria Rita. Our triadic analysis examines: (1) iconic gestural mimicry, (2) generation of interpretants through emotional/energetic/logical modes, and (3) pragmatic-legal-ethical consequences
Alternation or coexistence? Semisymbolic analysis in Brazilian Sign Language
No full textIn this article, we aim to demonstrate, based on French semiotic theory, the consequences of semisymbolic mobilization for the overall meaning of texts produced in Brazilian Sign Language (Libras). Based on Floch (1985) and Pietroforte (2004, 2017), we describe the content and expression of the videopoem Como veio a alimentação, by the deaf author Fernanda Machado (2018), with a view to explaining the homologation between categories belonging to both planes of language during signaling. Finally, we discuss how these semi-symbolic relations are linked to the aesthetic manifestation pointed out by Deaf Studies. The results corroborate recent studies on literature in Sign Language and demonstrate the possibility of analyzing the semisymbolic coercions that the enunciative instance operates to manage, in the act of manifestation, the values originated by the discursive content. By exploring these linguistic processes in Libras, we broaden our understanding of the visuospatial modality of textual production and enrich our appreciation of Sign Languages and their capacity for creative, effective and impactful communication.Neste artigo, objetivamos demonstrar, com base na teoria semiótica de linha francesa, as consequências da mobilização semissimbólica para o sentido global de textos produzidos na Língua Brasileira de Sinais (Libras). Com base em Floch (1985) e Pietroforte (2004, 2017), descrevemos o conteúdo e a expressão do videopoema Como veio a alimentação, da autora surda Fernanda Machado (2018), com vistas a explicar a homologação entre categorias pertencentes a ambos os planos da linguagem durante a sinalização. Por fim, discutimos como essas relações semissimbólicas estão ligadas à manifestação estética apontada pelos Estudos Surdos. Os resultados corroboram os estudos recentes sobre a literatura em Língua de Sinais e demonstram a possibilidade de análise das coerções de ordem semissimbólica que a instância enunciativa opera para gerenciar, no ato da manifestação, os valores originados pelo conteúdo discursivo. Ao explorarmos esses processos linguísticos em Libras, ampliamos nosso entendimento da modalidade visuoespacial de produção textual e enriquecemos nossa apreciação das Línguas de Sinais e sua capacidade de comunicação criativa, efetiva e impactante
The rhetorical tradition within the paths of Semiotics: fragmentation and reintegration into the contemporary domains of discourse
No full textStrange person, time and space: an enunciative approach of song lyrics by Arnaldo Antunes
No full textExamina-se como o emprego de procedimentos enunciativos presentes no desenvolvimento de textos de natureza literária podem provocar efeitos de estranhamento na percepção a respeito das categorias enunciativas de pessoa, tempo e espaço e sua discursivização. Alicerçando-se em autores como Benveniste (2020, 2023), Bertrand (2003) e Fiorin (1996, 2003), analisa-se um corpus formado por três letras de canções (“Fora de si”, “Amanhã só amanhã” e “O buraco do espelho”) compostas por Arnaldo Antunes. Metodologicamente, para cada texto observado, é dedicada uma seção em razão da categoria enunciativa nele realçada. As análises apontam como as estratégias empregadas nos textos desestabilizam os arranjos convencionais em torno das categorias enunciativas elencadas, chamando a atenção do enunciatário para a inventividade desses modos de dizer.This article analyzes how the use of enunciative procedures present in the development of texts of a literary nature can provoke estrangement effects in the perception of the categories of person, time and space and their discursivization. Based on authors such as Benveniste (2020, 2023), Bertrand (2003) and Fiorin (1996, 2003), a corpus composed of three song lyrics (“Fora de si”, “Amanhã só amanhã” e “O buraco do espelho”) composed by Arnaldo Antunes. Methodologically, a section is dedicated to each observed text according to the enunciative category highlighted in it. The analyzes show how the strategies employed in the texts destabilize the conventional arrangements around the listed enunciative categories, drawing the enunciatee\u27s attention to the inventiveness of these ways of saying