Estudos Semióticos (ISSN 1980-4016)
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Back to culture. Semiotics and its anthropological turns
No full textCet article se propose d’examiner le projet d’une sémiotique de la culture en considérant les contacts entre la sémiotique greimassienne et l’anthropologie. Les différences entre Greimas et Lévi-Strauss dans les années 1960 ont conduit la sémiotique à abandonner l’idée d’approcher la culture. Ces dernières années, la sémiotique post-greimassienne, tournée vers les pratiques et l’expérience, a renoué le dialogue en s’inspirant des propositions de Latour et de Descola pour rediscuter la notion de culture du point de vue des collectifs et des ontologies. À contre-courant de la recherche actuelle, nous défendons ici l’idée que le projet d’une sémiotique de la culture est déjà incarné par l’anthropologie structurale. Du fait de son héritage des méthodes linguistiques, qu’elle applique au terrain, et de son ouverture aux modélisations formelles comme aux approches phénoménologiques ou cognitives, elle nous paraît constituer un cadre sûr et suffisant pour étudier les cultures. Au croisement des approches de Greimas, Lotman et Lévi-Strauss, la théorie structurale en anthropologie et sémiotique paraît toujours d’actualité et ouvre de nouvelles perspectives de recherches avec les « cultures numériques ».This article aims at discussing the project of semiotics of culture on the basis of the contacts between the semiotics of Greimas and anthropology. In the 1960s, differences between Greimas and Lévi-Strauss led semiotics to abandon its ambitions to study culture. In the past few years, post-greimassian semiotics, oriented toward practices and experience, initiated new relationships with anthropology, especially Descola’s and Latour’s works, in order to rethink the notion of culture from the viewpoint of collectives and ontologies. Against the current research trend, we defend the position that the project of semiotics of culture already exists within structural anthropology. As the heir of linguistic methods applied to the ethnographic field and its openness to both formal analysis and cognitive theories, it seems to offer a steady and sufficient frame to analyze cultures. At the crossroads of Greimas’, Lotman’s and Lévi-Strauss’ approaches, structural theory in anthropology and semiotics seems still topical and could be applied to new fields of research such as “cyber-cultures”
The contagion in Brazilian semiotics: an issue of semio-historiography
Get PDFNeste trabalho, buscamos entender o conceito de “sensível”, mais especificamente a questão do contágio, na semiótica, pela abordagem semio-historiográfica (SANTOS, 2020), contextualizando, primeiramente, sua emergência. Depois, nos estudos de semioticistas franceses e brasileiros, recuperados por meio dos grupos de especialidades de semiótica - institucionalizados em diferentes universidades do território internacional e brasileiro - segundo as ideias de Murray (1994, 1998) e de Moreira (2019). Esses grupos de especialidades, compreendidos nos períodos que chamamos de greimasiano e pós-greimasiano, são a recepção da teoria semiótica francesa a partir do discurso fundador encontrado nos trabalhos de A. J. Greimas e a sua continuidade com seus colaboradores, sobretudo nos trabalhos de Fontanille, Landowski e Zilberberg. Aliando os princípios semiótico-historiográficos definidos por Portela (2018), Koerner (1996, 2014), Swiggers (2009, 2015), Moreira (2019), Santos (2020) e Auroux (2008) ao conceito de “sensível” em sua rede conceitual, investigamos na recepção brasileira, em que medida o contágio aparece na retórica e/ou na imanência dos trabalhos analisados. Por fim, a partir dessas primeiras reflexões, conseguimos definir provisoriamente o lugar histórico-epistemológico que o sensível (contágio) ocupa na semiótica brasileira, para explorar não apenas as continuidades teórico-metodológicas, mas também as rupturas existentes.In this work, we seek to understand the concept of “sensitive”, more specifically the issue of contagion, in semiotics, through the semi-historiographical approach (Santos, 2020), contextualizing, at first, its emergence. Then, in the studies of French and Brazilian semioticians, recovered through groups of semiotics specialties – institutionalized in different universities in the international and Brazilian territories –, according to Murray’s (1994, 1998) and Moreira’s (2019) theories. These groups of specialties understood in the periods we call Greimasian and post-Greimasian are the reception of French semiotic theory from the founding discourse found in the works of A. J. Greimas and its continuity with his collaborators, especially in the works of Fontanille, Landowski, and Zilberberg. Allying the semiotic-historiographic principles defined by Portela (2018), Koerner (1996, 2014), Swiggers (2009, 2015), Moreira (2019), Santos (2020), and Auroux (2008) with the concept of “sensitive” in their conceptual network, we investigated in the Brazilian reception, to what extent contagion appears in the rhetoric and/or in the immanence of the analyzed works. Finally, departing from these first reflections, we were able to provisionally define the historical-epistemological place that the sensitive (contagion) occupies in Brazilian semiotics, to explore not only the theoretical and methodological continuities but also the existing ruptures
Culture and politics of laziness: from fairy tales to Oblomov and Bartleby
Get PDFLa thèse de cet article est que la paresse n’est pas une propriété psychologique d’un sujet individuel mais un sentiment collectif : c’est une réaction, voire une rébellion, contre ceux qui nous enferment dans une culture qui voit l’activité comme une valeur suprême, souvent comme une fin en soi. La paresse est la réponse à ceux qui nous forcent à faire et à exagérer, à nous donner à nos occupations avec zèle et constance, dévouement total et persévérance aveugle. Donc, il n’est pas vrai qu’une personne paresseuse ne fait rien, ou plutôt qu’elle fait tout ce qu’elle peut pour ne rien faire. Le paresseux travaille frénétiquement afin de créer les conditions parfaites qui lui permettent d’activer son inertie. Cet article essaie de démontrer cette thèse en analysant certains textes exemplaires tels que Oblomov de Gontcharov, et en la reliant, en amont, aux contes de fées russes traditionnels et, en aval, au célèbre conte de Melville Bartleby.The thesis of this paper is that laziness is not a psychological property of an individual subject but a collective sentiment: it is a reaction, or perhaps even a rebellion, against those who lock us within a culture that sees activity as a supreme value, often as an end in itself. Laziness is the response to those who force us to do and overdo, to give ourselves over to our occupations with zeal and constancy, total dedication and blind perseverance. So, it is not true that a lazy person does nothing, rather they do everything they can in order to not do anything. They work frantically in order to create the perfect conditions that allow them to activate their inertia. This paper tries to prove this thesis by analyzing some exemplary texts such as Goncharov\u27s Oblomov, and linking it, upstream, with traditional Russian fairy tales and, downstream, with Melville Bartleby\u27s famous tale.The thesis of this paper is that laziness is not a psychological property of an individual subject but a collective sentiment: it is a reaction, or perhaps even a rebellion, against those who lock us within a culture that sees activity as a supreme value, often as an end in itself. Laziness is the response to those who force us to do and overdo, to give ourselves over to our occupations with zeal and constancy, total dedication and blind perseverance. So, it is not true that a lazy person does nothing, rather they do everything they can in order to not do anything. They work frantically in order to create the perfect conditions that allow them to activate their inertia. This paper tries to prove this thesis by analyzing some exemplary texts such as Goncharov\u27s Oblomov, and linking it, upstream, with traditional Russian fairy tales and, downstream, with Melville Bartleby\u27s famous tale
Music performance as a research object
Get PDFDado o caráter por demais restrito do que se entende por performance nos estudos musicais, este artigo propõe discutir as condições e os meios necessários para a integração dos elementos discursivos pertinentes para que a performance musical, com enfoque na música de concerto ocidental, possa reivindicar autonomia enquanto objeto de pesquisa. Para tanto, tomaremos os pressupostos da semiótica discursiva, incorporando discussões sobre intertextualidade e polifonia. Num primeiro momento, partiremos de um movimento de expansão, no qual se integram elementos intertextuais e contextuais à investigação. Em seguida, ao reconhecer o caráter discursivo/textual desses elementos, discutiremos sua composição sincrética. Isso nos levará à relação enunciador-enunciatário como eixo fundador em torno do qual se organizam os elementos performáticos pertinentes, criando assim um critério ao mesmo tempo constante, porém suficientemente aberto para abarcar as movências do ato performático enquanto objeto de estudo.The objective of this article is to identify the construction of common directionalities between the concepts of border and threshold within the semiotic theory of culture through Yuri Lotman and Claude Zilberberg. To address our research objective, we conducted a critical, convergent and synthetic review of the representative literature of both authors\u27 proposals. This methodological purpose aims to make an integrated reading of the concepts of border and threshold so that they generate new frameworks and thematic perspectives on a semiotics of culture. The hypothesis is that the articulation of the threshold within the theory of a culture dependent on the topological, fundamental and narrative opposition between the center and the periphery, allows the portrayal of more versatile semiospheres where the peripheral figure falls apart in the most ubiquitous and temporarily unstable movements of particular cultures such as those economic or consumer semiospheres
Luiz Tatit: art and theory
Get PDFEste artigo pretende aplicar a teoria semiótica sobre o objeto canção, unindo a Semiótica da Canção, concebida pelo teórico Luiz Tatit, e uma obra cancional também de sua autoria. O objeto artístico escolhido foi a canção “Universo”, parceria de Luiz Tatit com seu irmão, Paulo Tatit. Além da semiótica da canção, serão mobilizadas outras ferramentas de abordagem, dentro da semiótica de linha francesa, sobretudo a gramática tensiva, a partir das descobertas do semioticista Claude Zilberberg. Da semiótica da canção, serão demonstrados o trabalho do cancionista, tematização e figurativização na canção; da gramática tensiva, veremos o sistema de gradações, o fazer missivo, os conceitos de triagem e mistura, densidade de presença e o gráfico de tensividade; da gramática narrativa e semiótica discursiva, o percurso gerativo de sentido, a virtualização/realização e a manipulação; por fim, da glossemática, veremos os planos de conteúdo e de expressão.This paper aims at applying Semiotics to song as object of study, by merging Song Semiotics, developed by the theorist Luiz Tatit, and a song of his own as well. The artistic object to be analysed is “Universo”, a partnership working between Luiz Tatit and his brother, Paulo Tatit. Apart from Song Semiotics, this paper will invoke other Semiotics approaches, from French origin, mainly Tensive grammar, according to Claude Zilberberg’s developments at Semiotics. From Song Semiotics, we’ll show the labour of “cancionista” (similar to songwriter’s one), “tematização” and “figurativização” of song (concepts intrinsic to Song Semiotics); from Tensive grammar, we’ll see system of graduation, “function of hurling”, concepts of triage and merge, density of presence and tensivity graphic; from Narrative and Discursive Semiotics, the Generative process, virtualization/realization and manipulation; at last, from Glossematics, we’ll see the plans of content and of expression
La espiritualidad y la religión en la narcocultura. Una aproximación desde la semiótica
Get PDFEl trabajo tiene como objeto de reflexión y análisis el narcotráfico en México. Desde la semiótica de la cultura propuesta por I. Lotman y la semiótica de corte estructural iniciada por A. J. Greimas, consideramos el narcotráfico como una práctica que obedece a sus propias reglas y cuyo sentido está regido por ciertos códigos, normas, así como por un sistema de valores específico. Esta práctica remite a una forma de vida (que incluye signos, expresiones, textos, significaciones); una subestructura que se opone, pero permea, a una semiosfera que es la cultura mexicana contemporánea. A partir de esos niveles integradores, nos aproximamos a la dimensión religiosa –de carácter ambiguo y a veces francamente marginal– dentro del narcotráfico.The object of reflection and analysis of this paper is drug trafficking in Mexico. From the semiotics of culture proposed by I. Lotman and the structural semiotics started by A. J. Greimas, we consider drug trafficking as a practice that obeys its own rules and has a meaning governed by certain codes and norms, as well as a specific system of values. This practice refers to a form of life (which includes signs, expressions, texts, meanings); a substructure opposed but related to a semiosphere that is the contemporary Mexican culture. From these integrating levels, we approach the religious dimension –which has an ambiguous and sometimes frankly marginal character– within drug trafficking
Logic of information and Semiotics of culture
No full textQu’est-ce que la post-vérité ? Qu’est-ce que les fake news ? S’agirait-il de simples pathologies de l’information ou plutôt d’un phénomène dévoilant une autre logique de la signification sociale ? En mettant à contribution les outils de la sémiotique de la culture (notamment les sémiotiques d’Umberto Eco et de Juri Lotman), le présent article entend analyser la façon dont s’est radicalement transformé le critère de la vérité des discours (leur « régime de vérité » comme le disait Foucault), de même que l’avènement d’un régime « confusionnel » se réclamant d’un critère d’authenticité fondé sur l’expérience en lieu et place d’un critère de vérité fondé sur la vérification.What is post-truth? What are fake news? A pure pathology of information, or a phenomenon that reveals a different logic of social signification? Thanks to the tools of the semiotics of culture (in particular the semiotics of Umberto Eco and Juri Lotman), the text highlights how the criterion of truth of the discourses has radically changed (the “regime of truth”, as Foucault would say) and how a “confusive” regime has emerged that focuses on a criterion of authenticity based on experience, rather than a criterion of truth based on verification
Parodistical and stylistic transpositions in the re-recording of brega songs
Get PDFEste artigo surge da tentativa de compreender melhor o fenômeno por qual passam certas canções estigmatizadas, que, ao serem gravadas por intérpretes considerados como de maior prestígio cultural, passam a ser consumidas como produções artísticas de “bom gosto”. Focalizando nossa pesquisa na regravação de canções bregas, compreendemos esse processo de transposição como um fenômeno intertextual, podendo ser construída como paródia e estilização (Discini, 2004). Além disso, as distintas sanções que as regravações de uma canção recebem são fruto de um processo sócio-histórico, que Tatit (2004) traduz em termos de triagem e mistura. A construção da identidade de uma determinada canção, avaliada como brega, é definida por uma série de efeitos de sentido que procuramos demonstrar pela análise, com base na semiótica elaborada por Tatit (1994), de duas canções bregas que foram gravadas por intérpretes de outros estilos: “Eu vou tirar você desse lugar”, nas versões de Odair José (1995) e Los Hermanos (2002), e “Sozinho”, de Peninha (1997) e Caetano Veloso (1998).This paper emerges from the attempt to better understand the phenomenon observed on certain stigmatized songs which, being re-released by more culturally prestiged coverers, begin to be observed as artistic statements of “good taste”. The research focuses on the re-releases of “brega” (tacky) songs, understanding this process of transposition as an intertextual phenomenon, reading it from the Discini’s postulates (2004). Nonetheless, the distinct sanctions which the re-releases receive are also products of a socio-historical process, one that Tatit (2004) translates in terms of “sorting” and “mixing”. The construction of the identity of a determined song, perceived as “brega”, is defined by a series of meaning effects which this text tries to demonstrate by analysing two “brega” songs which were re-recorded by singers in other styles: Odair José’s “Eu vou tirar você desse lugar” (1995) and the Los Hermanos’ versions (2002), and “Sozinho”, in the versions by Peninha (1997) and Caetano Veloso (1998)