Estudos Semióticos (ISSN 1980-4016)
Not a member yet
652 research outputs found
Sort by
Forme et géographie : de René Thom à Benoît Mandelbrot
Full text linkL’histoire de la forme est un concept complexe qui remonte à l’antiquité grecque, tout au long de cet article nous aborderons différentes facettes de ce concept dans le cadre particulier de la géographie. Nous développerons différentes perspectives sur la forme en géographie et sur son ontologie « locale ». Nous verrons également comment ce concept a été abordé, en géographie physique, en géomorphologie, en tenant compte de divers moments historiques et des cadres scientifiques successifs. La géomorphologie servira de laboratoire physique pour approfondir la notion de forme en géographie. Dans cette recherche nous croiserons des concepts de penseurs de différentes époques tels que Goethe, D’Arcy Thompson, Prigogine, mais surtout, René Thom et Benoît Mandelbrot, penseurs qui nous ont offert les outils pour concevoir une vision renouvelée de la forme en géographie
A contribution from Voloshinov\u27s philosophy of language to semiotic studies
No full textEste artigo tem como objetivo discutir como a filosofia da linguagem de Volóchinov (2017 [1929]) pode apresentar uma contribuição aos estudos semióticos, sobretudo em seu caráter filosoficamente sociológico. Em primeiro lugar, partimos de uma definição da perspectiva histórico-epistemológica que caracteriza a nossa reflexão, e evidenciamos um dos momentos em que a filosofia volochinoviana explicitamente esteve presente na obra de Iúri Lotman [1922-1993], um dos mais importantes semioticistas da história desse campo. Em segundo, caracterizamos o sociologismo das décadas de 1920 e 1930 da URSS em que Volóchinov atuou cientificamente, fator que muito contribuiu para que a sua filosofia da linguagem pudesse assumir uma postura epistemicamente sociológica. Por fim, passamos a discutir, após um breve debate sobre o primado filosófico da interação social que é pressuposto por tal filosofia, como o conceito de enunciado de Volóchinov (2017 [1929]) pode servir como ponto de partida para uma semiótica que se queira sociológica. Antes de mais nada, este artigo pretende-se uma contribuição à defesa da lógica interdisciplinar no campo dos estudos da linguagem, além de um trabalho que se deseja participante de um movimento de abordagem epistemológica e histórica das ideias.This article aim to discuss how Voloshinov\u27s philosophy of language (2017 [1929]) can contribute to semiotic studies, especially in its philosophically sociological character. First, we start with a definition of the historical-epistemological perspective that characterizes our reflection, and we highlight one of the moments in which Voloshinov\u27s philosophy was explicitly present in the work of Juri Lotman [1922 1993], one of the most important semioticians. Second, we characterize the sociologism of 1920s and 1930s in the USSR in which Voloshinov worked scientifically, a factor that greatly contributed to define his philosophy of language as an epistemically sociological stance. Finally, we begin to discuss, after a brief debate on the philosophical primacy of social interaction that is presupposed by that philosophy, how Voloshinov\u27s concept of enunciation (2017 [1929]) can serve as a starting point for a semiotic in a sociological hue. This article aims to contribute to the defense of interdisciplinary logic in the field of language studies. In addition, it is intended to participate in epistemological and historical approach to ideas
On plasticity in aesthetics. Klänge by Wassily Kandinsky
Full text linkL’article se propose de contribuer à l’exploration des logiques du sensible par une réflexion sur le plastique. L’œuvre Klänge de Wassily Kandinsky amène à observer comment la matière se façonne continuellement dans l’appréhension sensible, en supportant et accompagnant l’émergence de formes et figures, la création d’effets d’ambiance, mais en étayant aussi le retour à des valeurs et attraits proprement matériels. Recueil de poèmes et gravures où se déclenchent parfois des résonances entre le visuel et le langage verbal, Klänge est avant tout une œuvre qui exploite ce que l’artiste appelle sonorité, concept qu’il élabore à partir de l’usage poétique du mot et qu’il étend à la couleur et aux éléments picturaux, au-delà de tout ancrage référentiel. Le livre, contemporain, et peut-être même moteur, du passage à un art dit abstrait, est également une œuvre charnière pour entendre le tournant esthétique envisagé par l’artiste dans ses écrits théoriques. Il incite à une réflexion sur la plasticité, qui, en faisant fi de la délimitation de celle-ci à certains matériaux ou genres, dépasse aussi l’opposition entre l’abstrait et le figuratif, ou entre le plastique et l’iconique. Le plastique se tourne alors en concept-clé pour la compréhension de dynamiques morphologiques et permet de relever comment, dans la saisie, la matière est informée à divers degrés de figurabilité.The article aims to contribute to the exploration of the logics of the sensitive through a reflection on plasticity in aesthetics. Wassily Kandinsky’s work of art Klänge leads us to observe how matter is continuously shaped in aesthesia, supporting and accompanying the emergence of forms and figures, the creation of atmospheric effects, but also underpinning the return to properly material values and appeals. This collection of poems and engravings, occasionally triggering resonances between the visual and the verbal, is mainly a work of art that exploits what the artist calls sonority, a concept he elaborates from the poetic use of the word and extends to colour and pictorial elements, beyond any referential anchoring. The book, which is coeval with, and perhaps even a driving force behind, the transition to a so-called abstract art, is also a pivotal work of art for assessing the aesthetic turn envisaged by the artist in his theoretical writings. It prompts a reflection on plasticity that, disregarding the delimitation of the latter to certain materials or genres, also goes beyond the opposition between the abstract and the figurative, or between the plastic and the iconic. Plasticity then turns to be a key concept for the understanding of morphological dynamics and allows to note how, in aesthetic apprehension, matter is informed at various degrees of figurability.L’article se propose de contribuer à l’exploration des logiques du sensible par une réflexion sur le plastique. L’œuvre Klänge de Wassily Kandinsky amène à observer comment la matière se façonne continuellement dans l’appréhension sensible, en supportant et accompagnant l’émergence de formes et figures, la création d’effets d’ambiance, mais en étayant aussi le retour à des valeurs et attraits proprement matériels. Recueil de poèmes et gravures où se déclenchent parfois des résonances entre le visuel et le langage verbal, Klänge est avant tout une œuvre qui exploite ce que l’artiste appelle sonorité, concept qu’il élabore à partir de l’usage poétique du mot et qu’il étend à la couleur et aux éléments picturaux, au-delà de tout ancrage référentiel. Le livre, contemporain, et peut-être même moteur, du passage à un art dit abstrait, est également une œuvre charnière pour entendre du tournant esthétique envisagé par l’artiste dans ses écrits théoriques. Il incite à une réflexion sur la plasticité, qui, en faisant fi de la délimitation de celle-ci à certains matériaux ou genres, dépasse aussi l’opposition entre l’abstrait et le figuratif, ou entre le plastique et l’iconique. Le plastique se tourne alors en concept-clé pour la compréhension de dynamiques morphologiques et permet de relever comment, dans la saisie, la matière est informée à divers degrés de figurabilité
Greimas and his other. Investigation at the origins of “post-greimassian” branches
Full text linkNotre article propose de discuter l’évolution de la pensée de Greimas en évaluant notamment quelques principes qui ont permis l’émergence de mouvements épistémologiquement différents, à partir de son héritage. A partir du réexamen d’ouvrages « critiques » des années 80-90 : le Tome 2 du Dictionnaire (Greimas ; Courtés, 1986), De l’imperfection (Greimas, 1987) et Sémiotique des passions (Greimas ; Fontanille, 1991), nous mettront en évidence les concepts portant en germe les tournants « post-greimassien ». Plus particulièrement, nous montrerons que les développements des modalités (Greimas, 1983) ont orienté la sémiotique vers le sujet et la subjectivité, l’énonciation et, finalement, une approche existentielle préfigurant la sémiotique du discours. Notre proposition critique cherchera à questionner la cohérence du modèle théorique greimassien comme cadre unique, stable et partagé de la communauté sémiotique.Our article aims at discussing the evolution of Greimas’s approach, focusing on assessing some of the principles that enabled the appearance of epistemologically different branches, derived from his legacy. A re-examination of some “critical” works from the 1980s and 1990s, namely Tome 2 of le Dictionnaire (Greimas; Courtés, 1986), De l\u27imperfection (Greimas, 1987) and Sémiotique des passions (Greimas; Fontanille, 1991), will allow us to highlight concepts at the root of “post-Greimasian” turning points. More specifically, we will show that the developments of modalities (Greimas, 1983) have oriented semiotics towards the subject and subjectivity, enunciation and, finally, an existential approach preceding the semiotics of discourse. Our critical contribution will seek to question the coherence of the Greimasian theoretical model as a unique, stable and shared framework for the semiotic community
Semiotics between science and philosophy. A strategic epistemological duplicity
Full text linkLa semiotica ha una posizione epistemologica complessa e delicata: ascritta al novero delle scienze del linguaggio, o talora alle scienze dell\u27informazione e della comunicazione, emerge spesso come una disciplina con accenti o pretese filosofiche, anche se per alcuni dovrebbe limitarsi a un ruolo ancillare, offrendosi come puro apporto metodologico per altre discipline. I contributi “sproporzionati” della semiotica – debordanti nei temi e troppo sofisticati e gergali nelle argomentazioni – possono suggerire l’idea di rinunciare infine all\u27istituzionalizzazione di una disciplina autonoma; d\u27altra parte, si ritiene che il compito di prendere in considerazione tutti i linguaggi e i loro usi intrecciati sarebbe di per sé eccessivo. Questa rinuncia favorirebbe il riconoscimento del semiotico come dominio antropologico delle mediazioni simboliche, un dominio che può essere affrontato da diverse prospettive disciplinari classiche, o almeno da quelle che sono in grado di specificare meglio il loro oggetto e i limiti delle loro pertinenze descrittive. In questo contributo, cerchiamo di proporre alcuni argomenti per muoversi in una direzione opposta, al fine di riaffermare il progetto della semiotica come disciplina sui generis che cerca di articolare la filosofia e la scienza da una specifica angolatura, quella per cui una critica semiotica del pensiero dovrebbe articolarsi con un pensiero critico delle mediazioni.Semiotics has a complex and delicate epistemological position: ascribed to the ranks of the language sciences, or sometimes to the information and communication sciences, it often emerges as a discipline with philosophical accents or pretensions, even though for some it should limit itself to an ancillary role, offering itself as a pure methodological contribution to other disciplines. The “disproportionate” contributions of semiotics - overflowing in its themes and overly sophisticated and jargonistic in its argumentations - may suggest the idea of finally renouncing the institutionalization of an autonomous discipline; on the other hand, it is believed that the task of considering all languages and their intertwined uses would be excessive in itself. This renunciation would favor the recognition of the semiotic as an anthropological domain of symbolic mediations, a domain that can be approached from different classical disciplinary perspectives, or at least from those that are better able to specify their object and the limits of their descriptive pertinences. In this contribution, we seek to propose some arguments for moving in an opposite direction, in order to reaffirm the project of semiotics as a sui generis discipline that seeks to articulate philosophy and science from a specific angle, that by which a semiotic critique of thought should articulate with a critical thinking of mediations
The visuality in “Rimbaud”, by Chacal: a semiotic analysis
Full text linkEste trabalho tem como proposta apresentar, a partir de uma análise do poema “Rimbaud”, de Chacal, uma reflexão a respeito da visualidade na poesia dentro do domínio da semiótica discursiva. Para isso, utilizaremos a proposição teórica e metodológica de Pondian descrita em “Gramática da poesia escrita: figuras retóricas”. Como resultado, identificamos os principais efeitos de sentido criados pela exploração de recursos no plano da expressão gráfico-visual do poema e a especificidade do destinatário da comunicação construído a partir disso. Ao final, destacamos a pertinência dos estudos relativos à visualidade na poesia, marcadamente a partir dos paradigmas colocados pelas vanguardas modernas, na passagem do século XIX para o XX, no campo da poesia.This paper proposes to present, on the basis of a “Rimbaud” by Chacal analysis, a reflection on the visuality in poetry within the domain of structural semiotics. For this purpose we use the theoretical and methodological proposition of Pondian described in “Grammar of written poetry: rhetorical figures”. As a result, we identify the main meaning effects created by the exploration of resources at the poem’s graphic-visual expression plane level and the specificity of the communication receiver built from this. At the end we highlight the relevance of the visuality on poetry studies, markedly from the paradigms set by the modern avant-garde of nineteenth to twentieth century transition, in the poetry domain
De la dynamique phrastique. Grammaire, chorématique et Théorie des Catastrophes
Full text linkWe propose a dynamic, chorematic, and topological model of phrasal structuring and show that grammatical sense is the result of a process of complementation which makes a compositional conception of the notion of construction, a less relativist one than that of a certain cognitive linguistics, plausible. Our approach shows, hopefully in a better way, how language can simulate thought and therefore allow us to share it. For syntax is already semantics. It is a matter of understanding how.Nous proposons une modélisation dynamique, chorématique et topologique de la structuration phrastique et montrons que le sens grammatical relève d\u27un processus de complémentation qui rend plausible une conception compositionnelle et moins relativiste que celle d\u27une certaine linguistique cognitive, de la notion de construction. Notre approche montre mieux, nous l\u27espérons, comment le langage peut simuler la pensée et ainsi nous permettre de la partager. Car la syntaxe est déjà sémantique. Il s\u27agit de comprendre comment elle peut l\u27être
Behind the mask. Truth in semiotics
Full text linkThe article proposes a reflection, conducted with the tools of semiotics, on truth and its misrepresentations (masks, secrets), through the analysis of a story: Double Dream (Traumnovelle, 1926) by Arthur Schnitzler. After an excursus on some conceptions of truth, derived both from philosophical discourse and from everyday practice, the textual analysis is aimed at showing how discursive processes, as they are staged by the story, present a wide interweaving of different "truthful" practices, such as ascertainment, confession, investigation, testing, unmasking, simulation and dissimulation. Practices that are in turn related to different conceptions and valorizations of truth. Finally, the article focuses on the role of the "mask", in the processes of thematization and actoralization, as a means of concealment and revelation.L’articolo propone una riflessione, condotta con gli strumenti della semiotica, sulla verità e sui suoi travisamenti (maschere, segreti), attraverso l’analisi di un racconto: Doppio sogno (Traumnovelle, 1926) di Arthur Schnitzler. Dopo un excursus su alcune concezioni della verità, derivate sia dal discorso filosofico che dalla prassi quotidiana, l’analisi testuale è volta a mostrare come i processi discorsivi, quali sono messi in scena dal racconto, presentano un ampio intreccio di pratiche “veritative” diverse, quali la constatazione, la confessione, l’inchiesta, la messa alla prova, lo smascheramento, la simulazione e la dissimulazione. Pratiche che sono a loro volta correlate a concezioni e valorizzazioni diverse della verità. Infine, l’articolo si concentra sul ruolo della “maschera”, nei processi di tematizzazione e di attorializzazione, come mezzo di nascondimento e rivelazione
Elena\u27s passion path: from hope to melancholia
Full text linkNossa análise tem como objeto de significação o documentário brasileiro Elena (2012), dirigido pela mineira Petra Costa. A obra aborda, de forma bastante pessoal, a relação da diretora com a memória da irmã, Elena, que comete suicídio aos vinte anos, no início da década de 1990. Trata-se de um texto fílmico no qual se sobressaem os estados de alma, as paixões. Somos envolvidos pela jornada afetiva de cada personagem. Assim, detendo-nos apenas no plano do conteúdo, pretendemos evidenciar o percurso passional de Elena, com ênfase na melancolia, que tem uma posição central nesta investigação, visto ser o estado que domina o sujeito até o fim de seus dias. Valemo-nos, pois, da Semiótica Francesa, levando em conta os avanços teóricos propostos por Zilberberg, que nos traz a noção de tensividade. Utilizamos também as formulações de Freud no ensaio Luto e melancolia (2011 [1914]), tendo em vista suas contribuições pertinentes aos nossos objetivos.This analysis presents as an object of signification the Brazilian film Elena (2012), directed by Petra Costa. A very personal experience results in a filmic text about the director\u27s relationship with the memory of her sister, Elena, who committed suicide at the age of twenty, in the early 1990s. In the work, therefore, the states of soul, the passions stands out. We are involved in each character\u27s affective journey. Thus, focusing only on the contents plane, we intend to highlight Elena\u27s passionate path, with an emphasis on the melancholia, which has a central position in this investigation, because it is the state that dominates the subject until the end of his days. We use, therefore, french semiotics and the theoretical advances proposed by Zilberberg, which brings us the notion of tensiveness. We also use Freud\u27s essay Mourning and melancholia (2011 [1914]), because his contributions are relevant to our objectives
Practices and strategies of cancel culture
Full text linkConsiderando as reflexões sobre os níveis de pertinência da análise semiótica e as diferentes cenas predicativas observadas nas redes sociais – que utilizam a violência em diferentes intensidades para destruir a imagem pública do outro, ou, em certos casos, mantê-la –, buscamos, neste trabalho, identificar como se configuram as práticas e estratégias relacionadas à cultura do cancelamento. Essas práticas, e as estratégias que as acomodam, são realizadas no ambiente virtual, na forma de comentários em redes sociais e outros tipos de mídia on-line que, simulando um tribunal virtual e assumindo os papéis actanciais de juízes, jurados e executores, sancionam negativamente o sujeito que enuncia discursos desinformados, preconceituosos e intolerantes ou exprime comportamentos que podem corroborar discursos negacionistas, e aplicam punições diversas. Por outro lado, as mesmas práticas podem desencadear um processo de reiteração e forte assunção do discurso ou comportamento que levou o sujeito a ser inicialmente julgado e cancelado. Esse comportamento é observado em grupos que manifestam discursos de apoio a valores morais historicamente enraizados na estrutura social e que não condizem com uma sociedade que visa a ser mais pacífica, inclusiva, sustentável e justa.Considering the reflections on the levels of the pertinence of semiotic analysis, and the different predicative scenes observed on social networks, which use violence in different intensities to destroy the public image of the other person or, in certain cases, to maintain it, we seek in this paper to identify how the practices and strategies related to cancel culture are configured. These practices, and the strategies that accommodate them, are carried out in the virtual environment in the form of comments on social networks and other types of online media that simulate a virtual court. By assuming the actantial roles of judges, jurors, and executors, they negatively sanction the subject that enunciates uninformed, prejudiced, and intolerant discourses, or expresses behaviors that may corroborate denialist discourses, and apply various punishments. On the other hand, the same practices can begin a process of reiteration and strong assumption of the discourse or behavior that led the subject to be initially judged and canceled. This behavior is observed in groups that manifest discourses of support for moral values historically rooted in the social structure, and are not consistent with a society that intends to be more peaceful, inclusive, sustainable, and fair.