Estudos Semióticos (ISSN 1980-4016)
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Enunciation strategies in the musical discourse of hip hop: the case study of MF DOOM
Full text linkThis paper is the result of an investigation into the work of British-born musician and record producer Daniel Dumile, better known by his stage name MF DOOM. The research follows a qualitative approach and the chosen method was discourse analysis, based upon the theories of French structural semiotics. The objective was identifying the strategies of articulation of the self from the process of musical enunciation of the lyrics and relating it to other artistic manifestations of Dumile. It is verified that Dumile\u27s lyrical style depends on a very delicate game of enunciative embrayages and débrayages, which serve as the basis for building characters at different moments of his compositions, playfully approaching to the listener.El presente artículo es el resultado de una indagación respecto a la obra del músico y productor discográfico de origen británico Daniel Dumile, mejor conocido por su nombre artístico MF DOOM. El enfoque fue cualitativo y se empleó el análisis discursivo con base en la semiótica estructural francesa. El objetivo consistió en identificar las strategias de articulación del yo a partir del proceso de enunciación musical de la letra y emparentarlo con otras manifestaciones artísticas del cantante. Se comprueba que el estilo lírico de Dumile depende de un muy delicado juego de desembragues y embragues enunciativos, los cualessirven de base para construir personajes en distintos momentos de sus composiciones y aproximándose lúdicamente al enunciatario
The discursive construction of the politics of resistance in Companheiras, by Eneida de Moraes
No full textEste artigo objetiva investigar a construção discursiva da política de resistência na crônica Companheiras, da autora Eneida de Moraes (1903–1971), bem como identificar as vozes sociais manifestadas por meio desse discurso. O texto foi escrito na década de 1950, porém relata fatos históricos da década de 1930. Foram selecionados trechos do texto que assinalam o percurso do sujeito confinado na prisão, imobilizado pela repressão, mas encontrando formas para sobreviver e resistir às coerções impostas. Nos fundamentamos nos pressupostos teóricos da Semiótica Francesa, elucidando aspectos narrativos e discursivos, incidências de elementos da vertente tensiva, destacando também o conceito de formas de vida da maneira como o utiliza Fontanille (2015). A análise revela que o discurso de resistência se constrói pela unicidade de vozes sociais que afrontam um sistema de poder autoritário e repressor. É um discurso tecido em ações de resistência coletiva sustentadas nas afetividades e na partilha do mesmo pensamento ideológico em prol de uma nova organização política pautada nos princípios democráticos e na liberdade de expressão. Dessa forma, o trabalho vem contribuir para a compreensão de discursividades que se localizam ideologicamente no campo da política de resistência e de enfrentamentos dos sistemas de poder.This article aims to investigate the discursive construction of the politics of resistance in the chronicle Companheiras, by the Eneida de Moraes (1903–1971), as well as to identify the social voices expressed through this discourse. The text was written in the 1950s, however, it reports historical facts from the 1930s. We selected excerpts from the text, which mark the path of the subject confined in prison, immobilized by repression, but finding ways to survive and resist the imposed coercion. We depart from the theoretical assumptions of French Semiotics, elucidating narrative and discursive aspects, incidences of elements of the tensive aspect, also highlighting the concept of forms of life in the way Fontanille (2015) uses it. The analysis reveals that the discourse of resistance is constructed by the uniqueness of social voices that confront an authoritarian and repressive power system. It is a discourse woven in actions of collective resistance sustained in affectivities and in the sharing of the same ideological thinking in favor of a new political organization based on democratic principles and freedom of expression. Thus, the work contributes to the understanding of discursivities ideologically located in the field of resistance politics and confrontations with power systems
Musical enunciation and its modes of existence: Gisèle Brelet and Iannis Xenakis under a tensive approach
Full text linkOs atos musicais constituem modos de viver a música, cujos processos realizam e dinamizam os elementos de sistemas e culturas musicais diversas. Para tratarmos dos modos de existências de uma enunciação musical que dê conta da diversidade de manifestações de uma práxis sonoro-musical coletiva, aproximaremos, sob a ótica da abordagem tensiva, dois pensamentos sobre o tempo musical: o da musicóloga e esteticista francesa Gisèle Brelet e o do compositor grego Iannis Xenakis. Com Brelet, traremos a síntese do ritmo, ou a ideia de uma “prosódia geral” da música, e duas definições de silêncio. Com Xenakis, nos valeremos das suas álgebras temporais (hors-temps, temporelle een-temps) para fazermos uma ligação com os modos de existência (virtualizado, atualizado, realizado e potencializado) tal como são pensados pela abordagem tensiva, desenvolvida por Jacques Fontanille e, principalmente, Claude Zilberberg. Por fim, apresentaremos três cenários de possíveis existências musicais da peça Mycenae-Alpha (1978) de Iannis Xenakis.Musical acts constitute modes of living music, whose processes realize and dynamize the elements of diverse musical systems and cultures. To deal with the modes of existence of a musical enunciation that accounts for the diversity of manifestations of a collective sonorous-musical praxis, we will approximate, under the viewpoint of the tensive approach, two thoughts about musical time: that of the French musicologist and aestheticist Gisèle Brelet and that of the Greek composer Iannis Xenakis. With Brelet, we will bring the synthesis of rhythm, or the idea of a "general prosody" of music, and two definitions of silence. With Xenakis, we will make use of his temporal algebras (hors-temps, temporelle and en-temps) to make a connection with the modes of existence (virtualized, actualized, realized and potentialized) as they are thought by the tensive approach, developed by Jacques Fontanille and, mainly, Claude Zilberberg. Finally, we will present three scenarios of possible musical existences from the piece Mycenae-Alpha (1978) by Iannis Xenakis
Morphogenesis of Jean Nouvel’s brand: the example of the Louisiana Manifesto
Full text linkCet article veut montrer la portée d’une question plus large: qu’est-ce que le Branding Territorial sous la perspective sémiotique ? et pourquoi cette question est importante pour nous, architectes. L’un des plus anciens leviers du Branding Territorial réside dans les Brand Architectes, plus communément appelés Star Architectes. Il semblerait que l’identité de leur marque, représentée par un nom propre (le sien), comme Jean Nouvel, Frank Gehry, Rem Koolhaas, entre autres, se confonde avec les valeurs qu’ils construisent dans leurs oeuvres. On voit qu’en général, le Brand Architecte organise sa marque autour d’un manifeste, ou, plusieurs manifestes qui sonnent le plus souvent comme une révolution et soulignent les valeurs qui le caractérisent, comme l’élément phare de la stratégie de chaque projet. Nous explorerons comment Jean Nouvel y parvient, à travers son Manifeste de la Louisiane. Nous analyserons le lien entre Praxis et Théorie comme composantes fondamentales de toute démarche architecturale, à partir de l’exemple du Manifeste de Nouvel appliqué au projet du Grand Pari(s) . Cet exemple nous conduira à l’étude de la rhétorique comme stratégie de la marque Jean Nouvel.This paper intends to show the scope of a wider question, which is what is Territorial Branding? and why this issue is important for us architects.One of the oldest levers of Territorial Branding are the Brand Architects, more commonly called Star Architects. It would seem that the identity of their brand, represented by a proper noun (their own), like Jean Nouvel, Frank Gehry, Rem Koolhaas, among others, is confused with the values they are building up. We see that, in general, the Brand-Architect7 organizes his/her brand around one manifesto, or several manifesti, which most times sound like a revolution and underline the values that characterize it, like the leading element of the strategy for each project. We’ll explore how Jean Nouvel achieves this, through his Louisiana Manifesto. We will analyse the link between Praxis and Theory as fundamental components of any architectural approach, from the example of the Nouvel Manifesto applied to the project Le Grand Pari(s) (The Greater Paris). This example will lead us to the study of rhetoric as a strategy of Nouvel’s brand
The founder and his brand: plastic semiotics, semi-symbolism, and the amalgamation of corporate and private identities in the anti-ageing wellness market
Full text linkThrough the analysis of two brands in the health, wellness, and longevity sector — Bulletproof and Primal Blueprint — this article examines the amalgamation of brand identity and the lifestyle ideologies of the founders, creating a “total lifestyle” that exceeds the consumption of commodities. The analyses of both brands as isolated entities and the relations they construct within the sector explore the various contrasts constituting the problem of “identity” — both brand and personal, public and private — utilising concepts and methods of analysis developed throughout Jean-Marie Floch’s body of work. In particular, this article revisits his Plastic Semiotics, exploring the semi-symbolism constructed in the logos and the alimentary discourses produced by both brands. The article concludes with a reflection on the significant mechanisms marking the brands’ trajectories from dissenting actors in a sector to authoritative brands aligned with the status quo, interrogating the extent to which such trajectories are aligned with transformations in the brands’ semiotic structures.Through the analysis of two brands in the health, wellness, and longevity sector — Bulletproof and Primal Blueprint — this article examines the amalgamation of brand identity and the lifestyle ideologies of the founders, creating a “total lifestyle” that exceeds the consumption of commodities. The analyses of both brands as isolated entities and the relations they construct within the sector explore the various contrasts constituting the problem of “identity” — both brand and personal, public and private — utilising concepts and methods of analysis developed throughout Jean-Marie Floch’s body of work. In particular, this article revisits his Plastic Semiotics, exploring the semi-symbolism constructed in the logos and the alimentary discourses produced by both brands. The article concludes with a reflection on the significant mechanisms marking the brands’ trajectories from dissenting actors in a sector to authoritative brands aligned with the status quo, interrogating the extent to which such trajectories are aligned with transformations in the brands’ semiotic structures
O efeito de sentido do movimento no audiovisual: um estudo sobre o cinetismo como formante da expressão a partir da vinheta Intolerância, da Globo News
Full text linkA vinheta institucional Intolerância, do canal de televisão por assinatura brasileiro Globo News, constitui objeto de análise do presente artigo. Ilustrada e dirigida pelo designer israelita Noma Bar, Intolerância revela em suas estruturas discursivas como o olhar da mídia hegemônica de um país latino-americano sobre os conflitos identitários entre ocidente e oriente está alinhado com as potências ocidentais. Na esteira das contribuições teóricas desenvolvidas por Jean-Marie Floch em semiótica visual, o trabalho propõe considerar o cinetismo como formante constitutivo da visualidade em textos audiovisuais, sendo a vinheta analisada objeto notadamente exemplar para demonstrar a hipótese.The institutional vignette Intolerance of the Brazilian TV channel Globo News is the object of analysis in this article. Illustrated and directed by Israeli designer Noma Bar, Intolerance reveals in its discursive structures how the view of the hegemonic media of a Latin American country about the indenitarian conflicts between East and West is aligned with Western powers. In the wake of the theoretical contributions developed by Jean-Marie Floch in visual semiotics, the paper proposes to consider kineticism as a constitutive formant of visuality in audiovisual texts, and the analyzed vignette is notably exemplary object to demonstrate the hypothesis
Sobre la (des)organización institucional de la semiótica como disciplina
Full text linkSemiotics, as the field dealing with the production of meaning-making mechanisms, was supposed to be a holistic project. Semioticians in the 20th century were concerned about providing semiotics an epistemological identity. For instance, semiotics was aimed at following a meta-role (Greimas, 1976) as ‘a metadiscipline of all academic disciplines’ (Posner, 2003, p. 2366). In fact, Sebeok (1976) deemed semiotics as a ‘doctrine of signs’, refusing to call it a science or a theory. Despite this sophisticated terminology, semiotics remained poorly organised in the national academic systems. This lack of organisation in the academic institutions did not allow semiotics to show this allegedly federative role of general knowledge. Instead, semiotics ended up receiving different designations such as ‘esoteric knowledge’, ‘cabalistic language’, ‘formalistic paranoia’, and so forth. This paper delves into the institutional disorganisation of semiotics by addressing two main aspects. Firstly, the lack of interest by early semioticians to accurately organise their field in the institutions, and secondly, how this treatment, as a meta-field, thwarted its aspirations to be considered as a fully-fledged discipline. Thirdly, I engage in a current discussion (Parra, 2020) in semiotics that questions how semiotics has favoured applied approaches to the production of meaning.La semiótica, como el campo que lidia con la producción y reproducción de los mecanismos de producción del sentido, estaba destinada a ser un proyecto holístico. Los primeros semiólogos del siglo XX se preocuparon por dotar a la semiótica con una identidad epistemológica. Por ejemplo, la semiótica estaba destinada a seguir un papel “meta” (Greimas, 1976) en tanto que una meta-disciplina de todas las disciplinas académicas” (Posner, 2003, p. 2366). De hecho, Sebeok (1976) la denominaría como “doctrina de los signos”, rechazando considerarla una ciencia o una teoría. Apesar de esta sofisticada terminología, la semiótica siguió estando pobremente organizada en los sistemas académicos nacionales. Dicha falta de organización en las instituciones académicas no le permitió mostrar ese presunto papel federativo sobre el conocimiento en general. En lugar de ello, la semiótica terminó recibiendo una serie de designaciones, como son: “conocimiento esotérico”, “lenguaje cabalístico”, “paranoia formalista”, etcétera. Este artículo examina la desorganización institucional de la semiótica a través de dos aspectos principales. En primer lugar, la falta de interés de los primeros semiólogos para organizar adecuadamente su campo en las instituciones, y, en segundo lugar, cómo este tratamiento, en tanto que meta-campo, frustró sus aspiraciones para ser una disciplina plenamente establecida. Por último, atraigo la atención a una discusión actual dentro de la semiótica (Parra, 2020), la cual cuestiona el estancamiento de la teoría semiótica, al favorecer enfoques aplicados a la producción del sentido
Sur l\u27objet d\u27une sémiologie fonctionnelle : vers une typologie des indices
Full text linkCet article se penche sur deux problèmes survenus lors du développement de la sémiologie pendant la seconde moitié du vingtième siècle, à savoir : (1) le débat autour de l’objet de la sémiologie : cette dernière traite-t-elle de la signification ou de la communication ? et (2) la question de savoir comment établir une typologie des indices, laquelle se trouve à la base de la conception de l’objet propre à la sémiologie. Afin d’examiner ces problèmes, nous nous focalisons sur quelques travaux des représentants principaux de la sémiologie dite fonctionnelle, notamment Georges Mounin, Eric Buyssens et Luis Prieto. Ce sont essentiellement les travaux de Prieto qui sont utilisés pour en dégager une typologie des indices qui permette de concevoir un objet spécifique à la sémiologie de la signification, et, en même temps, de présenter clairement le but d’une telle sémiologi.The article touches upon two problems that arose in the development of semiology in the second half of the twentieth century, namely: (1) the debate over the proper object of semiology: signification or communication? and (2) the problem of how a typology of indices (indications), which underlies the conception of the proper object of semiology, can be established. In order to tackle these problems, the article restricts itself to a treatment of the works by the main representatives of a functional semiology, to wit, Georges Mounin, Eric Buyssens and Luis Prieto. Especially the works of Prieto are used to unravel a typology of indices that ultimately allows to conceive the object of a specific semiology of signification and to clearly present its aims
Corpo, veridicção e testemunho em Memórias do Cárcere, de Graciliano Ramos
Full text linkNo presente artigo, trataremos de uma questão referente à dimensão veridictória dos discursos, ainda a ser mais explorada em semiótica, a nosso ver: a imbricação (neutralização?) entre regimes subjetivos e objetivos de veridicção presente no discurso autobiográfico. Nossa discussão se dará a partir da obra Memórias do Cárcere (1953), de Graciliano Ramos, que traz inúmeras questões sobre o seu estatuto de “realidade”. Esse desiderato se dará em diálogo com autores como Jacques Fontanille, mormente em sua obra Corpo e sentido; Izidoro Blikstein, e sua noção de verdade subjetiva; e Wander Melo Miranda, em seu trabalho Corpos escritos, dedicado à temática na obra de Graciliano Ramos em estudo. O intento deste artigo é o de mostrar que a peculiaridade veridictória do texto do escritor alagoano é afirmada não pela via de uma enunciação objetivante (mais da ordem do “registro”, da adequação aos fatos), mas pela dimensão estética de sua obra, pela imbricação entre o memorial e o literário e pela força figurativa do sensível e da estesia. Esses elementos nos poriam em face de uma narração mais do devir de um sofrimento, do simulacro de quem “sentiu na pele” a dor, do que de um relato documental dos acontecimentos vividos na cadeia.In the present article, we will deal with a question concerning the veridictory dimension of discourses, not yet explored in semiotics, in our view: the imbrication (neutralization?) between subjective and objective regimes of veridiction present in the autobiographical discourse. Our discussion will be based on the work Memórias do Cárcere (1953), by Graciliano Ramos, which raises numerous questions about its status as “reality”. This desideratum will take place in dialogue with authors such as Jacques Fontanille, especially in his work Corpo e sentido; Izidoro Blikstein, and his notion of subjective truth; and Wander Melo Miranda, in his work Corpos escritos, dedicated to the theme in the work of Graciliano Ramos under study. The purpose of this article is to show that the veridical peculiarity of the Alagoas writer\u27s text is affirmed not through an objectifying enunciation (more in the order of "record", of adequacy to the facts), but through the aesthetic dimension of his work, through the imbrication between the memorial and the literary and by the figurative force of the sensible and the aesthesia. These elements would put us in the face of a narration more of the becoming of suffering, of someone who “felt in their skin” the pain, than a documentary account of the events lived in prison
Julia Kristeva, audacious reader of Bakhtin
Full text linkNos anos 1960, a leitura de Kristeva permitiu não só a introdução de Bakhtin no Ocidente, mas uma apropriação produtiva que deve ser vista como ponto de articulação de novas e aceleradas configurações do pensamento europeu da segunda metade do século XX. O objetivo deste trabalho é entender por que Kristeva recupera Bakhtin como texto fundador de um projeto semiótico e de que modo se produz um desenho de um novo objeto de estudo para a literatura. Primeiramente, tratamos de um prólogo que escreveu à tradução francesa La poétique de Dostoïevski, em que critica o formalismo russo e, por extensão, as formas radicalizadas do estruturalismo literário de seu tempo. Em um segundo momento, é analisado um ensaio kristeviano sobre o romance, no qual a leitura de Bakhtin se expressa claramente como a base para fundar um projeto semiótico, sua proposta de semanálise.In the 1960s, the reading of Kristeva allowed not only the introduction of Bakhtin in the West, but a productive appropriation that must be seen as a point of articulation of new and accelerated configurations of European thought in the second half of the 20th century. The objective of this work is to understand why Kristeva recovers Bakhtin as the founding text of a semiotic project and how a design of a new object of study for literature is produced. First, we deal with a prologue she wrote to the French translation La poétique de Dostoïevski, in which she criticizes Russian formalism and, by extension, the radicalized forms of literary structuralism of her time. In a second moment, a Kristevian essay on the novel is analyzed, in which Bakhtin\u27s reading is clearly expressed as the basis for founding a semiotic project, her proposal for semanalysis