Estudos Semióticos (ISSN 1980-4016)
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Cosa significa essere asemiotici?
Full text linkAlthough some researchers consider semiotics as a universal epistemological approach (Gaines, 2015), calling something ‘asemiotic’ may be challenging. However, one can find such characteristics in semioticians\u27 work. For example, Tartu semiotic school cofounders Juri M. Lotman and Boris A. Uspensky argue that asemiotic is a way how proper name functions within mythological consciousness (Lotman; Uspensky, 1973). Despite the fact that this characteristics may be found in other scholars‘ works, research of ‘asemiotic’ continues to be a marginal field in semiotic studies.Since the ‘semiotic’ (related to semiotics) is determined in theoretical frameworks in different ways, the ‘asemiotic’ similarly does not stick to one meaning . In other words, asemiotic postulates the absence of the semiotic in the sense in which the scholar understands the semiotics. Otherwise, incompatibility of the theoretical sequence may lead to methodological inaccuracy. This may happen when one perceives semiotics as a unified theory. Thus, while it is not an accepted term, ‘asemiotic’ may have different meanings depending on the perspective. This research will delve into, the use of ‘asemiotic’ in the works of Guattari and Deleuze (1987), Nöth (1995, 2000) and Lotman and Uspensky as well as try to identify the case when scholars resort to using ‘asemiotic’ in their works. One may find different approaches of use, from the auxiliary instrument through the method of interpretation to the core concept.Sebbene alcuni ricercatori considerino la semiotica un approccio epistemologico universale (Gaines, 2015), definire qualcosa “asemiotico” può essere difficile. Tuttavia, è possibile trovare una tale caratterizzazione nelle opere dei semiologi. Ad esempio, i cofondatori della scuola semiotica di Tartu, Yuri M. Lotman e Boris A. Uspensky, sostengono che l\u27asemiotico è il modo in cui il nome proprio funziona nella coscienza mitologica (Lotman; Uspensky, 1973). Questa caratterizzazione si ritrova anche nei lavori di altri studiosi, ma lo studio dell\u27“asemiotico” continua a essere un\u27area marginale negli studi semiotici. Poiché la “semiotica” (legata alla semiotica) è definita in modo diverso nei quadri teorici, anche l\u27“asemiotica” non mantiene lo stesso significato. In altre parole, l\u27asemiotico postula l\u27assenza del semiotico nel senso in cui lo studioso intende la semiotica. Altrimenti, una coerenza teorica incompatibile può portare a un\u27imprecisione metodologica. Questo può accadere se la semiotica viene percepita come una teoria unificata. Pertanto, sebbene non sia un termine comunemente accettato, “asemiotico” può avere significati diversi a seconda della prospettiva. In questo articolo esamineremo l\u27uso di “asemiotico” nelle opere di Guattari e Deleuze (1987), Nöth (1995, 2000), Lotman e Uspensky e cercheremo di individuare dove gli studiosi ricorrono all\u27uso di "asemiotico" nel loro lavoro. Si possono trovare diversi approcci di utilizzo, da strumento ausiliario a metodo di interpretazione, fino a concetto centrale
On the nature of cinematographic narrative
Full text linkO ensaio Sobre a natureza da narrativa cinematográfica, de 1993, é um dos últimos trabalhos de Iúri Lotman que concentra suas reflexões sobre a arte cinematográfica, tema ao qual ainda em 1973 o semioticista havia dedicado o livro A semiótica do cinema e os problemas da estética cinematográfica (na tradução lusitana, Estética e semiótica do cinema). Segundo Lotman, a arte cinematográfica imita a estrutura de uma língua natural e, portanto, é uma arte essencialmente narrativa que elabora sua própria linguagem (cinelinguagem). Dentro de uma obra cinematográfica, vista como um texto, é possível destacar frases, tempos verbais e até mesmo rimas e anáforas. Lotman aponta ainda a dualidade complexa do enredo cinematográfico, composto por duas camadas: a “literária” – recontável em palavras e que, em certo sentido, coincide com o roteiro – e a camada puramente cinematográfica, que pode ser imaginada visualmente, mas não pode ser re-expressa em palavras.The essay On the nature of cinematographic narrative (1993) is one of the last works by Yuri Lotman that concentrates his reflections on cinematographic art, a theme to which, in 1973, the semiotician had dedicated the book Semiotics of cinema and problems of cinematic aesthetics (in the Portuguese translation published in Portugal, Estética e semiótica do cinema). According to Lotman, cinematographic art imitates the structure of a natural language and, therefore, is an essentially narrative art that elaborates its own language (cinelanguage). Within a cinematographic work, seen as a text, it is possible to highlight phrases, verb tenses and even rhymes and anaphoras. Lotman also points out the complex duality of the cinematographic plot, composed of two layers: the “literary” layer – recountable in words and which, in a certain sense, coincides with the script – and the purely cinematographic layer, which can be visually imagined, but cannot be re-expressed in words
Présentation. Centenaire de René Thom (1923-2023) : hommage sémiotique et morphodynamique
Full text linkCe texte présente le dossier thématique Centenaire de René Thom (1923-2023): hommage sémiotique et morphodynamique.Ce texte présente le dossier thématique Centenaire de René Thom (1923-2023): hommage sémiotique et morphodynamique.
Encontra-se, na sequência do texto original, uma tradução dessa mesma Apresentação para o português
QUE SONT MES « SEMI -» DEVENUS ?
Full text linkLa notion de semi-symbolisme demeure théoriquement et pratiquement problématique, depuis l’invention et l’usage flamboyant qu’en fit Jean-Marie Floch dans les années quatre-vingt et quatre-vingt dix du siècle précédent. Testant sa nécessité dogmatique et son efficacité pragmatique en considérant la recherche que ce dernier avait menée à propos de l’icône de la Trinité peinte par Andreï Rublev, et qui est consignée dans son ouvrage posthume de 2009, on suggère la possibilité de l’intégration de la démarche analytique de la sémiotique dans une autre grille et d’une réorganisation des rapports entre « interférences du contexte », « sens plastique », et « outil semi-symbolique ».The notion of semi-symbolism has remained theoretically and practically problematic since its invention and flamboyant use by Jean-Marie Floch in the eighties and nineties of the previous century. Testing its dogmatic necessity and pragmatic effectiveness by considering the research that the latter had carried out on the icon of the Trinity painted by Andrei Rublev, and which is recorded in his posthumous work of 2009, we suggest the possibility of integrating the analytical approach of semiotics into another grid and of reorganising the relations between "contextual interference", "plastic meaning", and "semi-symbolic tool".La notion de semi-symbolisme demeure théoriquement et pratiquement problématique, depuis l’invention et l’usage flamboyant qu’en fit Jean-Marie Floch dans les années quatre-vingt et quatre-vingt dix du siècle précédent. Testant sa nécessité dogmatique et son efficacité pragmatique en considérant la recherche que ce dernier avait menée à propos de l’icône de la Trinité peinte par Andreï Rublev, et qui est consignée dans son ouvrage posthume de 2009, on suggère la possibilité de l’intégration de la démarche analytique de la sémiotique dans une autre grille et d’une réorganisation des rapports entre « interférences du contexte », « sens plastique », et « outil semi-symbolique »
O legado de Floch sobre figuratividade, plasticidade e semissimbolismo na revista Actes Sémiotiques
Full text linkNeste artigo, investigamos as práticas e as estratégias discursivas utilizadas por Floch na divulgação de sua contribuição científica para os estudos sobre a plasticidade dos textos na revista Actes Sémiotiques, de 1970 ao final da década de 1980. Como os trabalhos desse pesquisador traziam resultados, em grande medida, das discussões empreendidas pelos participantes do ateliê de semiótica visual na época, também verificamos como se dá o reconhecimento público de suas ideias (KOERNER, 2014; MOREIRA; SANTOS; PORTELA, 2021) no mesmo periódico. Concluímos que a produção flochiana, no período investigado, está inserida em um clima de opinião muito interessado na elaboração de um aparato teórico-metodológico que possibilite investigar com maior acuidade conceitos operatórios – como figuratividade, semissimbolismo e formante (plástico e figurativo) – relacionados à constituição de uma semiótica planar (mais tarde, visual), o que propiciou uma recepção positiva de suas proposições teóricas pelos membros do GRSL, sendo, dessa forma, assimiladas tanto por visualistas quanto por participantes de outros ateliês e grupos, tornando suas proposições basilares (SANTOS, 2020).In this article, we investigate the discursive practices and strategies used by Floch in the dissemination of his scientific contribution to the studies on the plasticity of texts in the journal Actes Sémiotiques, from 1970 to the late 1980s. As the works of this researcher brought results, to a great extent, of thediscussions undertaken by the participants of the Visual Semiotics workshop in Paris at the time, we also verified how public recognition of his ideas takes place (KOERNER, 2014; MOREIRA; SANTOS; PORTELA, 2021) in the same scientific journal. We conclude that the Flochian production, in the investigated period, isinserted in a climate of opinion very interested in the elaboration of a theoretical-methodological apparatus that would make it possible to investigatewith greater acuity operative concepts – such as figurativity, semisymbolism and (plastic and figurative) formant – related to the constitution of a planar (later, visual) Semiotics, which provided a positive reception to his theoretical propositions by the members of GRSL, being thus assimilated both by visualists and participants of other ateliers and groups, making his propositions fundamental (SANTOS, 2020)
No ano de 1894, uma carta de Saussure a Meillet
Full text linkA pretexto de contextualizar a propalada carta de Ferdinand de Saussure (1857-1913) a Antoine Meillet (1866-1936), em 1894, o texto revisita alguns temas da linguística saussuriana das últimas décadas do século XIX: a Linguística Indo-Europeia; o sistema vocálico do indo-europeu primitivo; os coeficientes sonânticos; a acentuação e a entonação do lituano; a insatisfação com o estado da arte linguística e a proposição, ainda incipiente, de uma Linguística Geral que fornecesse instrumentos conceptuais para a análise, descrição e explicação do milharal de dados que o século XX herdou dos seus antecessores. A conclusão aponta para o interesse em se rever os critérios de periodização das historiografias linguísticas tradicionais que, em geral, apontam o Curso de Linguística Geral (Saussure, 1916), como o grande shibboleth entre a Linguística Histórico-Comparativa e a Linguística Sincrônica ‘moderna’.Under the pretext of contextualizing the celebrated 1894 letter from Ferdinand de Saussure (1857-1913) to Antoine Meillet (1866-1936), the article revisits some Saussurean linguistics themes, in the last decades of the 19th century: the Indo-European Linguistics; the Primitive Indo-European vocalic system; the sonantic coefficients; Lithuanian’s accent and intonation; Saussure’s discontentment with the state of the art of Linguistics and the necessity to work on a General Linguistics book that offered the necessary conceptual and methodological instruments to deal with the massive amount of data that the 20th century inherited from its predecessors. The conclusion suggests the opportunity to revise the periodization criteria of the traditional manuals of the history of Linguistics that, in general, consider the Course in General Linguistics (Saussure, 1916), as the great shibboleth between Historical-Comparative Linguistics and ‘modern’ Synchronic Linguistics.À partir d\u27une mise en contexte de la célèbre lettre envoyée le 4 janvier 1894 par Ferdinand de Saussure (1857-1913) à Antoine Meillet (1866-1936), le présent article passe brièvement en revue un certain nombre de sujets chers à la linguistique saussurienne vers la fin du XIXe siècle, à savoir, les études sur l\u27indo-européen, le système vocalique du proto-indo-européen, les coefficients sonantiques, l\u27accentuation et l\u27intonation de la langue lituanienne ; enfin l\u27insatisfaction de Saussure vis-à-vis de l\u27état des théories linguistiques de son époque et ses propositions visant à envisager, serait-ce de façon inchoative, une Linguistique Générale en mesure de bâtir un outillage conceptuel au service de l\u27analyse, de la description et de l\u27explication des données linguistiques massives que le XXe siècle devait bientôt hériter de ses prédécesseurs. Notre conclusion plaide une révision des critères de périodisation des historiographies linguistiques traditionnelles qui, le plus souvent, voient dans le Cours de Linguistique Générale (Saussure, 1916) le grand shibboleth entre, d\u27une part, la linguistique historique et comparée et, de l\u27autre, la linguistique synchronique dite moderne
Lynch meets Moser: cognition, brain and environment
Full text linkThe proposal of Cognition and the Built Environment (MØYSTAD, 2017) is that architecture is a basic mode of human cognition. The production as well as the use of our environment is a cognitive process in and of itself. Building human environment relates to and is informed by the prior built environment. One of Christopher Alexander’s observations (1987) was that “building cities” actually means changing cities. Project by project. This insight carries implications for how we understand architecture, for how we understand the human brain and for how they interact. This paper will outline (1) the interaction between some spatial and morphological properties of the built environment on one hand, and (2) some of the recently discovered properties of the brain on the other, which seem to mirror similar properties of the external environment. Based on these two sets of properties I will then (3) make a brief discussion of some theories that seem to suggest an outline, not complete but still useful, of the cognitive relationship between (1) and (2).L\u27idée soulevée par Cognition et l’Environnement Bâti (MØYSTAD, 2017) est que l’architecture est un mode de base de la cognition humaine. La production ainsi que l’utilisation de notre environnement est un processus cognitif en soi. Construire l’environnement humain se rapporte à l’environnement antérieur et est informé par celui-ci. Une des observations portées par Christopher Alexander (1987) est que « construire les villes » signifie en fait « changer les villes ». Projet après projet. Cette idée influence la façon dont nous comprenons l’architecture, la façon dont nous comprenons le cerveau humain, et la manière dont ils interagissent. Cet article étudie d’une part (1) l’interaction entre les propriétés spatiales et morphologiques de l’environnement bâti, puis d’autre part (2) certaines des propriétés du cerveau récemment découvertes. Ces dernières semblent refléter des propriétés similaires à celles de l’environnement extérieur. M’appuyant sur ces deux ensembles de propriétés, je porterai ensuite (3) un regard critique sur plusieurs théories semblant suggérer une esquisse, incomplète mais néanmoins utile, de la relation cognitive entre (1) et (2)
La Forme sémiotique de l’échelle
Full text linkThe meaning of the French word forme can go from concrete to abstract, depending on whether it is understood from the side of art, logic or mathematics. It is suggested that the categories of iconic and symbolic signs of Ch. S. Peirce\u27s semiotics can shed light on the situation regarding architectural forms. These are often approached under an iconic aspect whereas their conception also passes by verbal and numerical forms. Scale is inseparable from these forms. The article exposes a form proper to the architecturological scale, which, composed of the triad of concepts reference, dimension, relevance, joins the Peircian semiotic categories of firstness, secondness and thirdness. These concepts are formally presented by the examination of the conditions of attribution of measures to the Arche de la Défense (Paris). They are then validated by the analysis of a passage from Vitruvius concerning the attribution of measures to a public square. The consequences of the architecturological reduction of architectural design to measurement are then examined in relation to the considerations of various authors. In particular, the Thomian opposition of form to content, which is distinguished from the Grangerian opposition of form to content, is interpreted as iconic for the former, symbolic for the latter. The hypothesis of a vicarious function of the scale is then introduced between these two registers.Le sens du mot forme peut aller du concret à l’abstrait selon qu’il est entendu du côté de l’art, de la logique ou des mathématiques. On pose que les catégories de signes iconiques et symboliques de la sémiotique de Ch. S. Peirce peuvent éclairer la situation en matière de formes architecturales. Celles-ci sont souvent abordées sous un aspect iconique alors que leur conception passe également par des formes verbales et numériques. L’échelle est indissociable de ces formes. L’article expose une forme propre à l’échelle architecturologique, laquelle, composée de la triade de concepts référence, dimension, pertinence, rejoint les catégories sémiotiques peirciennes de priméité, secondéité et tiercéité. Ces concepts sont présentés formellement par l’examen des conditions d’attribution de mesures à l’Arche de la Défense (Paris). Ils sont ensuite validés par l’analyse d’un passage de Vitruve relatif à l’attribution de mesures à une place publique. Sont ensuite examinées les conséquences de la réduction architecturologique de la conception architecturale à la mesure en rapport avec les considérations de divers auteurs. En particulier, l’opposition thomienne de la forme au fond qui se distingue de l’opposition grangerienne de la forme au contenu sont interprétées comme iconique pour la première, symbolique pour la seconde. L’hypothèse d’une fonction vicariante de l’échelle est alors introduite entre ces deux registres