Estudos Semióticos (ISSN 1980-4016)
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The material identity in The loneliness of the long-distance cartoonist
Full text linkThe present article aims to explore identity construction in the autobiographical graphic novel The loneliness of the long-distance cartoonist, by Adrian Tomine (2020a), through the lenses of its graphic project. The story is built upon a support that resembles a Moleskine sketchbook, presenting another layer of reading by the physical interaction with the product and the exploration of its spatiality. The objective of our analysis is to dive deeper intothe construction of identity through the use an item or product, as it is proposed by Floch (2000), taking into consideration the relationship established between the narrative and the tool of the comic creator trade, and also the approximation that the comic book promotes between author and reader.Este artigo propõe explorar a construção da identidade na graphic novel autobiográfica A solidão de um quadrinho sem fim, de Adrian Tomine (2020a), a partir de uma reflexão sobre seu projeto gráfico. A obra é construída em um suporte que se assemelha a um sketchbook da marca Moleskine, apresentando uma nova camada de leitura motivada pela interação física com o produto e a exploração de sua espacialidade. O objetivo desta análise é explorar mais a fundo a construção da identidade por meio do uso de um produto, conforme propõe Floch (2000), considerando a relação que se estabelece entre a narrativa e o instrumento de trabalho do quadrinista, e as aproximações que o quadrinho promove entre enunciador-autor e enunciatário-leitor
Archeology and Anthropology of the plastic dimension of Visual Semiotics. In tribute to Jean-Marie Floch
Full text linkL’expression « sémiotique plastique », proposée par Jean-Marie Floch, à la suite de Greimas, est déjà en soi un choix critique. Elle a permis d’éviter le piège des typologies sémiotiques précédentes, fondées sur les canaux sensoriels, car la dimension plastique n’est pas réservée au domaine visuel ! « Sémiotique plastique » implique en effet d’emblée un typede sémiose, doté de ses plans de l’expression et du contenu spécifiques : l’identification d\u27un plan de l’expression spécifique ne semble pas difficile, mais celle du plan du contenu est plus problématique. Le Groupe μ a consacré une bonne partie de son Traité du signe visuel (1992) à ce qu’il appelle le « signe plastique », mais autant sa description systématique de l’expression plastique semble exhaustive, cohérente et donc convaincante, autant ses propositions concernant le contenu plastique, en défaut par rapport au principe d’hétérotopie (isomorphisme gardé) entre expression et contenu, semblent un peu trop redondantes (ou dépendantes) par rapport à l’expression, et faiblement heuristiques. Précisément, le problème sous-jacent est le statut de la dimension plastique, qui a beaucoup à perdre à être spécialisée dans le visuel, et beaucoup à gagner à être considérée comme un type particulier mais transversal de sémiose (par rapport aux types d’objets, aux canaux sensoriels, et même aux domaines de connaissance). C’est pourquoi la question de la spécificité de ses contenus est décisive, mais seulement si elle est abordée dans une perspective anthropologique et culturelle générale. Il se trouve qu\u27à cet égard, Greimas, Floch, mais aussi Thürlemann, ont déjà mis en évidence, dans leurs analyses, des contenus plastiques qui prenaient des allures narrativo-mythiques et anthropologiques nettement hétérotopiques par rapport aux expressions plastiques. Pour préciser la dimension plastique, Jean-Marie Floch avait parfaitement identifié une partie de la difficulté — et la possibilité d’une solution — avec les systèmes semi-symboliques : les relations propres à la sémiose plastique seraient caractérisées par la corrélation entre les oppositions de l’expression plastique et les oppositions des contenus plastiques. Mais, si les systèmes semi-symboliques garantissent l’indépendance et l’hétéronomie entre expressions et contenus plastiques, ils ne disent rien sur la nature des contenus en question. Voilà pourquoi notre enquête, qualifiée d’« archéologie de la dimension plastique », s’efforce ici de parcourir les principales typologies où naissent les possibilités de contenus plastiques, qui sont, en fait, différentes propositions en matière de types de signification : celles proposées par la scolastique médiévale (quatre types de signification), celles reformulées par l’iconologie (trois types), celles avancées, enfin, par Barthes (deux ou trois types, selon les versions) et Greimas (deux types) : il en ressort précisément que la particularité des contenus plastiques ne peut être appréhendée que par une approche anthropologique et comparée.The expression “plastic semiotics”, put forward by Jean-Marie Floch, following Greimas, is already in itself a critical choice. It allowed us to avoid the trap of previous semiotic typologies, based on sensory channels, because the plastic dimension is not reserved for the visual domain! “Plastic semiotics” implies in fact from the outset a type of semiosis, endowed with its specific planes of expression and content: the identification of a specific plane of expression does not seem to be difficult, but that of the plane of content is more problematic. The Group μ has devoted a good part of its Treatise on the Visual Sign to what it calls the “plastic sign”, but as much as its systematic description of the plastic expression seems exhaustive, coherent and therefore convincing, its proposals concerning the plastic contents, in default with respect to the principle of heterotopia (but isomorphism) between expression and content, seem a little too redundant (or dependent) with respect to the expression, and weakly heuristic. Precisely, the underlying problem is the status of the plastic dimension, which has much to lose by being specialized in the visual, and much to gain by being considered as a particular but transversal type of semiosis (with respect to object types, sensory channels, and even domains of knowledge). This is why the question of the specificity of its contents is decisive, but only if it is approachedfrom a general anthropological and cultural perspective. It happens that in this respect, Greimas,Floch, but also Thürlemann, already put in evidence, in their analyses, plastic contents which took on narrativo-mythic and anthropological allures clearly heterotopic with regard to the plastic expressions. To specify the plastic dimension, Jean-Marie Floch had perfectly identified part of the difficulty, and the possibility of a solution, with the semi-symbolic systems: the relations proper to the plastic semiosis would be characterized by the correlation between oppositions of the plastic expression and oppositions of the plastic contents. But, if the semi-symbolic systems guarantee the independence and the heteronomy between plastic expressions and contents, they say nothing about the nature of the contents in question. This is why our investigation, qualified of “archaeology of the plastic dimension”, endeavors here to go through the main typologieswhere the possibilities of plastic contents take birth, which are, in fact, different proposals asregards types of signification: those proposed by medieval scholasticism (four types of meaning),those reformulated by iconology (three types), those advanced, finally, by Barthes (two or three types, according to the versions) and Greimas (two types): it emerges precisely from this that the particularity of the plastic contents can be apprehended only by an approach of anthropological and comparative mode
La sémiotique plastique de Floch et la sémiotique visuelle contemporaine : entre filiation et dépassement
No full textCet article focalise l’attention sur la sémiotique plastique et, plus particulièrement, sur la schématisation semi-symbolique, c’est-à-dire sur la corrélation entre des catégories du plan de l’expression et du plan du contenu, pour en montrer tout l’intérêt et inviter à son dépassement. Mettant les hypothèses à l’épreuve de tableaux de Georges Laurent, nous visons à établir des filiations à partir des travaux des pionniers de la sémiotique visuelle, surtout de Floch, de Greimas et de Thürlemann, afin de souligner le fait que certains développements de la sémiotique visuelle contemporaine (focalisation sur la matérialité du tableau, sur sa texture et sur son support, analyse tensive de la catégorie, approche dynamiciste des processus sémiosiques et pensée de la variation) s’autorisent directement des avancées considérables réalisées dans les années soixante-dix à quatre-vingt-dix, mais aussi réexaminent les bases qui ont été jetées.Cet article focalise l’attention sur la sémiotique plastique et, plus particulièrement, sur la schématisation semi-symbolique, c’est-à-dire sur la corrélation entre des catégories du plan de l’expression et du plan du contenu, pour en montrer tout l’intérêt et inviter à son dépassement. Mettant les hypothèses à l’épreuve de tableaux de Georges Laurent, nous visons à établir des filiations à partir des travaux des pionniers de la sémiotique visuelle, surtout de Floch, de Greimas et de Thürlemann, afin de souligner le fait que certains développements de la sémiotique visuelle contemporaine (focalisation sur la matérialité du tableau, sur sa texture et sur son support, analyse tensive de la catégorie, approche dynamiciste des processus sémiosiques et pensée de la variation) s’autorisent directement des avancées considérables réalisées dans les années soixante-dix à quatre-vingt-dix, mais aussi réexaminent les bases qui ont été jetées.
This article focuses on plastic semiotics and, more specifically, on semi-symbolic schematisation, i.e. on the correlation between categories on the level of expression and the level of content. It aims to show semi-symbolic schematisation’s interest and to invite us to go beyond it. By analyzing some of Georges Laurent\u27s paintings, the purpose is to establish links with the work of the pioneers of visual semiotics, especially Floch, Greimas and Thürlemann, in order to emphasize the fact that certain developments in contemporary visual semiotics (focus on the materiality of the painting, on its texture and its support, tensive analysis of the category, dynamicist approach to semiosic processes and studying the principles of variation) directly take advantage of the considerable advances made in the 1970s to 1990s, but also examine the foundations that have been laid from a new perspective
Entre a semiótica e a montanha
Full text linkGreimas has always considered semiotics as a collective project under development. Jean-Marie Floch is among those who best understood thisproposal. His theoretical advances were frequently incorporated into semiotics theory and taken up and developed by other hands and voices. This article deals with some of Jean Marie Floch\u27s contributions to discursive semiotics and, in particular, to the semiotic study of the plane of expression in texts. We also present the examination of poetic texts as well as advertising and marketing texts. Our discussion is organized in three parts: the first on Floch\u27s proposal for the semiotic treatment of the plane of expression and, within this framework, of semi-symbolism; the second on his studies of poetic texts or of an aesthetic semiotics; the third on his contributions to semiotic approaches to advertising and marketing, thanks in part to studies of expression, but above all, to his proposals on consumer values. In addition to showing Floch\u27s innovative contributions, we also point out some of the developments emerged from them, which contributed decisively to semiotic studies of poetic, conversational and advertising texts.Greimas sempre considerou a semiótica como um projeto coletivo em desenvolvimento. Jean-Marie Floch faz parte daqueles que mais bem entenderam essa proposta. Seus avanços teóricos foram sempre incorporados à semiótica e retomados e desenvolvidos por outras mãos e vozes. Este artigo trata de algumas das contribuições de Jean Marie Floch para a semiótica discursiva e, em particular, para o estudo semiótico do plano da expressão dos textos e para o exame dos textos poéticos e dos textos publicitários e de marketing. Organiza-se em três partes: a primeira sobre a proposta de Floch para o tratamento semiótico do plano da expressão e, nesse quadro, do semissimbolismo; a segunda sobre seus estudos dos textos poéticos ou de uma semiótica estética; a terceira sobre suas contribuições para as abordagens semióticas da publicidade e do marketing, graças, em parte, aos estudos da expressão, mas, sobretudo, às suas propostas sobre os valores do consumo. Além de mostrar as contribuições inovadoras de Floch, apontamos também alguns dos desenvolvimentos que, a partir delas, pudemos dar aos estudos semióticos de textos poéticos, conversacionais e publicitários
Quatre questions sur la sémiotique : son histoire, sa place, ses bases épistémologiques
Full text linkOn the occasion of the publication of Pratiques discursives du savoir. Le cas sémiotique (2022), the organizers of the present dossier addressed four questions to its author, Sémir Badir, relating to the historiography and epistemology of Semiotics. The first question addresses different ways of conceiving the history of Semiotics, either around a theoretical project, or around a notion, seeking to identify its ideal addressee. The second question concerns the links between the theories of Saussure, Hjelmslev and Greimas. Badir argues in favor of a discursive (rather than notional or theoretical) approach, highlighting the disciplinary context, the materiality of discourse and the epistemic domain in which these links are posited, displayed and made active. A third aspect concerns the evolution of post-Greimasian Semiotics. The existence of a research program is not in question. But instead of leading to widespread applications, Semiotics constantly returns to its own theoretical foundations. Finally, there is the question of semiotics\u27 relationship with neighboring disciplines. The Semiotic program claims to have repercussions on the general organization of the sciences, thus highlighting the particular, non-disciplinarized epistemological status of this discursive practice of knowledge.À l’occasion de la publication de Pratiques discursives du savoir. Le cas sémiotique (2022), les animateurs du présent dossier ont adressé à son auteur, Sémir Badir, quatre questions relatives à l’historiographie et l’épistémologie de la sémiotique. La première question aborde différentes manières de concevoir l’histoire de la sémiotique, soit autour d’un projet théorique, soit autour d’une notion, en cherchant à identifier son destinataire idéal. La deuxième question porte sur les liens entre les théories de Saussure, de Hjelmslev et de Greimas. Badir défend l’intérêt d’une approche discursive (plutôt que notionnelle ou théorique), consistant à mettre en évidence le contexte disciplinaire, la matérialité du discours ainsi que le domaine épistémique dans lesquels ces liens sont posés, s’affichent et se rendent actifs. Un troisième volet concerne l’évolution de la sémiotique postgreimassienne. L’existence d’un programme de recherche n’est pas douteuse. Mais, au lieu de conduire à des applications étendues, la sémiotique revient constamment vers ses propres fondements théoriques. On s’interroge finalement sur les rapports qu’entretient la sémiotique avec les disciplines voisines. Le programme de la sémiotique prétend avoir des répercussions sur l’organisation générale des sciences, mettant ainsi en évidence le statut épistémologique particulier, non disciplinarisé, de cette pratique discursive du savoir
Das cortes de justiça aos palcos midiáticos: estudo do gênero denúncia a partir da Operação Lava Jato
Full text linkBased on the notion of genre integrated to the semiotics of practices, this work aims to investigate the criminal complaint. We start from the meanings expressed in the first criminal complaint of the Operation Car Wash against former president Lula, known as the complaint of Triplex do Guarujá, to analyze the characteristics of the production and the circulation of this document in order to, in a panchronic perspective, understand how they fit into the genre criminal complaint and how one can think, based on this notion, the legal practice of the operation. From the data found, we describe a change in the criminal procedural legal practice scene, which relocates from the courts to the newspapers, associating this scenario with the abuse of rights committed by the operation and the use of lawfare.Por meio da noção de gênero integrada à semiótica das práticas, o presente trabalho busca investigar, a partir de um texto-ocorrência, a denúncia criminal. Parte-se da primeira denúncia efetuada pela Operação Lava Jato contra o naquela época ex-presidente Lula, a do Triplex do Guarujá, para analisar as características de produção e de circulação desse documento para, numa perspectiva pancrônica, compreender como elas se encaixam no gênero denúncia e como se pode pensar, a partir dessa noção, a prática jurídica da operação. A partir dos dados encontrados, descreve-se uma mudança na cena prática da denúncia, que se desloca de uma disputa jurídica para uma disputa midiática, associando-se esse cenário aos abusos de direitos cometidos pela operação e ao uso de lawfare
Perception in Semiotics of discourse: contributions from semio-historiography
Full text linkExistem, na comunidade de semioticistas, questionamentos relacionados ao tipo de presença da fenomenologia de Merleau-Ponty (1999 [1945]) na semiótica discursiva (Zilberberg, 2011). Buscando contribuir para a discussão, este trabalho tem como objetivo principal retomar o conceito de percepção nas obras Sémantique Structurale (1966) e Maupassant. La sémiotique du texte: exercices pratiques (1976), ambas de Algirdas Julien Greimas, correlacionando-as com fontes anteriores (Merleau Ponty, 1999 [1945]; Allport, 1955; Quillian, 1962). Esse debate, que muito interessa à questão do sensível no projeto greimasiano, apoia-se na historiografia linguística (Altman, 2009; Koerner, 2014; Swiggers, 2009, 2013), no que tange ao princípio de influência, e na semiótica tensiva (Zilberberg, 2000; Zilberberg; Fontanille, 2001), sobre a mestiçagem, chegando a uma análise semio-historiográfica das citações tensivas (Santos, 2020; Moreira; Santos; Portela, 2021) para estabelecer em que medida a percepção faz parte do escopo teórico-metodológico da teoria, ou se pertence apenas ao âmbito da retórica nos trabalhos iniciais de Greimas.There are questions in the semiotic community about the type of presence of Merleau-Ponty’s (1999 [1945]) phenomenology in discursive semiotics (e.g., Zilberberg, 2011). To contribute to the discussion, the main aim of this paper is to revisit the concept of perception in Sémantique Structurale (1966) and Maupassant. La sémiotique du texte: exercices pratiques (1976), both written by Algirdas Julien Greimas, correlating them with earlier sources (Merleau-Ponty, 1999 [1945]; Allport, 1955; Quillian, 1962). This debate, which is very interesting to the issue of the sensitivity in the Greimasian project, is based on Linguistic Historiography (Altman, 2009; Koerner, 2014; Swiggers, 2009, 2013), regarding the principle of influence, and in Tensive Semiotics (Zilberberg, 2000; Zilberberg; Fontanille, 2001), on miscegenation, reaching a semio-historiographical analysis of tensive citations (Santos, 2020; Moreira; Santos; Portela, 2021) to establish to what extent perception is part of the theoretical-methodological scope of the theory, or if it belongs only to the scope of rhetoric in Greimas’ early works
Tracés de fondation à Rome
Full text linkFollowing the collective work published by Marcel Detienne (1990), we have taken up again the theme of foundational layouts, in particular that of ancient Rome, inaugurated by Romulus according to a foundation ritual (Plutarch). It is for us the occasion to take again our analysis of the places and to develop them from a thematization according to our semiotic approach by means of a logico-topological schematization called templum. It is through the notion of mythogram that we have differentiated this approach: structure of orientation of a space, actantiality associated with types of ritual, planning of an urban order that will be found throughout Roman history. These three correlated schematizations – to which it would be necessary to associate, in an underlying way, the logic of establishment of the place developed in our precedent book (2013) – make it possible to characterize the idea of a typical « urban form » in its recurrence.A la suite de l’ouvrage collectif publié par Marcel Detienne (1990), nous avons repris le thème des tracés de fondation, en particulier celui de la Rome antique, inaugurée par Romulus selon un rituel de fondation (Plutarque). C’est pour nous l’occasion de reprendre nos analyses des lieux et de les développer à partir d’une thématisation selon notre approche sémiotique au moyen d’une schématisation logico-topologique appelée templum. C’est à travers la notion de mythogramme que nous avons différencié cette approche : structure d’orientation d’un espace, actantialité associée à des types de rituel, planification d’un ordre urbain qui se retrouvera tout au long de l’histoire romaine. Ces trois schématisations corrélées – auxquelles il faudrait associer, de façon sous-jacente, la logique d’établissement des lieux développée dans notre livre précédent (2013) – permettent de caractériser l’idée d’une forme urbaine typique dans sa récurrence
Object and metaobject in semiotics: a unique relation
Full text linkIn semiotica e in linguistica la necessità di un oggetto epistemologicamente definito e specifico rispetto al vasto campo dei vari fenomeni comunicativi, e di uno specifico meta-oggetto o metalinguaggio, si rafforza con l’approccio strutturale che porta con sé anche un mutamento dell’idea di scienza del linguaggio, porta a una scienza duale: “uno formato da due”. Si tratta di una scienza che non considera le sue categorie come autonome, ma le considera “per altro”, in relazione con altre categorie. Nella dualità la storicità si prospetta come compartecipazione di strati di tempi asimmetrici, come attualizzazione di potenzialità semantiche: l’oggetto teorico si palesa come un “cronotopo” per cui lo spazio della teoria s’intreccia col movimento del tempo. La lingua utilizza sempre la stessa materia antica per le sue innovazioni, è capace di parlare di se stessa, di essere oggetto e condizione del suo meta-oggetto; parla di se stessa producendo un metalinguaggio aperto, risultante da un processo di traduzione o di autotraduzione, di metariflessione. Il rapporto fra oggetto e meta oggetto è ambivalente ed è costitutivo della scienza del linguaggio: l’oggetto (il linguaggio) contiene la sua teoria, ragion per cui il loro è un “rapporto unico”.In semiotics and linguistics, the need for an epistemologically-defined and specific object concerning the vast field of various communicative phenomena and for a specific meta-object or metalanguage is strengthened by the structural approach, which also brings with itself a change in the idea of language science leading to a dual science: a “one made up of two”. It is a science that does not consider its categories as autonomous but in relation to “otherness”, namely other categories. In this duality, historicity presents itself as a layered structure of asymmetrical times, as an actualization of semantic potentia: the theoretical object reveals itself as a “chronotope” whereby the space of the theory intertwines with the movement of time. Language uses always the same ancient material for its innovations; it is capable of speaking about itself, of being the object and condition of its meta-object; it speaks of itself by producing an open metalanguage resulting from a process of translation or self-translation, i.e., metareflection. The relationship between object and meta-object is ambivalent and is constitutive of language science: the object (language) contains its theory. Hence their "unique relationship"
Semiótica, fotografia e justiça social: um estudo na fronteira entre Semiótica da Fotografia e Semiótica do Direito
Full text linkEste artigo desenvolve uma análise semiótica da fotografia, discutindo o seu valor para o debate público, a sensibilização e a mobilização da opinião pública e a luta por justiça social. A proposta de análise procura seguir na linha estreita das fronteiras da Semiótica da Fotografia e da Semiótica do Direito, de forma a aproximar dois campos de trabalho que têm sido muito pouco explorados, ao menos dentro da perspectiva teórica da semiótica greimasiana. A fotografia é analisada como texto fotográfico, inserida em narrativas culturais, de modo a estabilizar a imagem fotográfica, mobilizadora de sentidos sócioculturais que, quando tematizam questões de justiça, são capazes de afetar outros discursos. Ao gerar a afetação de mentalidades, a imagem tem o poder de persuasão, gerando um ciclo favorável à implementação de políticas e ações concernentes a novos direitos. É dessa forma que o texto fotográfico influencia, direta ou indiretamente, na afirmação da justiça social e, por isso, pode estar na gênese do texto jurídico.This paper develops a semiotic analysis of photography, discussing its value for public debate, the awareness and mobilization of the public opinion and the struggle for social justice. The proposed analysis seeks to follow the fine line between the Semiotics of Photography and the Semiotics of Law, in order to bring two fields of work closer that have only been slightly explored, at least within the theoretical perspective of Greimasian semiotics. Photography is analysed as photographic text, inserted in cultural narratives, in order to stabilize the photographic image, mobilizing socio-cultural meanings that, when discussing questions of justice, they are able to affect other discourses. By generating the affectation of mentalities, the image has the power of persuasion, generating a favourable cycle for the implementation of policies and actions favourable to new rights. It is in this way that photographic text influences, directly or indirectly, the affirmation of social justice and, for this reason, it can be in the genesis of legal text