Estudos Semióticos (ISSN 1980-4016)
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    Cosa significa essere asemiotici?

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    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'asemiotico 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'“asemiotico” continua a essere un'area marginale negli studi semiotici. Poiché la “semiotica” (legata alla semiotica) è definita in modo diverso nei quadri teorici, anche l'“asemiotica” non mantiene lo stesso significato. In altre parole, l'asemiotico postula l'assenza del semiotico nel senso in cui lo studioso intende la semiotica. Altrimenti, una coerenza teorica incompatibile può portare a un'imprecisione 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'uso di “asemiotico” nelle opere di Guattari e Deleuze (1987), Nöth (1995, 2000), Lotman e Uspensky e cercheremo di individuare dove gli studiosi ricorrono all'uso di "asemiotico" nel loro lavoro. Si possono trovare diversi approcci di utilizzo, da strumento ausiliario a metodo di interpretazione, fino a concetto centrale.Although 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' 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

    Corpo, veridicção e testemunho em Memórias do Cárcere, de Graciliano Ramos

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    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's 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.No 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

    No ano de 1894, uma carta de Saussure a Meillet

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    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.A 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’.À partir d'une 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'indo-européen, le système vocalique du proto-indo-européen, les coefficients sonantiques, l'accentuation et l'intonation de la langue lituanienne ; enfin l'insatisfaction de Saussure vis-à-vis de l'état 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'analyse, de la description et de l'explication 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'une part, la linguistique historique et comparée et, de l'autre, la linguistique synchronique dite moderne

    Forme et géographie : de René Thom à Benoît Mandelbrot

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    L’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

    Das cortes de justiça aos palcos midiáticos: estudo do gênero denúncia a partir da Operação Lava Jato

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    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.Based 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

    The founder and his brand: plastic semiotics, semi-symbolism, and the amalgamation of corporate and private identities in the anti-ageing wellness market

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    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.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

    The semiotic form of scale

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    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.The 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's 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

    On plasticity in aesthetics. Klänge by Wassily Kandinsky

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    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.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 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

    Tracés de fondation à Rome

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    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.Following 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

    The secret sonnet in Pauliceia Desvairada

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    Inspired by the centenary of the Week of Modern Art that is celebrated in 2022, this article is dedicated to the analysis of the poem that opens the book published by Mário de Andrade in 1922, Pauliceia Desvairada. With the help of reflections from discursive semiotics, we seek to shed light on the sonnet that is hidden behind the free verses of “Inspiração”. In defense of this reading path, which intends immanence and appearance, we summon the mereological dimension of meaning, that is, the influence of the relations between parts and totality. In this sense, the reading of the poem in question is permeated by the other texts that make up the work, among them the “Prefácio Interessantíssimo” that indicates instructions for a poetics that guides the reading of the rest of the book. Thus, by promoting a doubly immanent analysis of the poem, which, without subjugating the reading to external data, lets the text reveal the internal structures that make up its poeticity (and modernity), we try to pay homage that escapes the biographical and historical tones that, with their merits, seem to dominate the laurels of this centenary.Inspirados pelo centenário da semana de arte moderna que se comemora em 2022, este artigo dedica-se à análise do poema que abre o livro lançado por Mário de Andrade em 1922, Paulicéia Desvairada. Com o auxílio das reflexões da semiótica discursiva, buscamos lançar luz sobre o soneto que se esconde por trás dos versos livres de “Inspiração”. Em defesa desse percurso de leitura, que tenciona imanência e aparência, convocamos a dimensão mereológica da significação, ou seja, a influência das relações entre partes e totalidade. Nesse sentido, a leitura do poema em questão é permeada pelos outros textos que compõem a obra, entre eles o “Prefácio interessantíssimo” que indica instruções para uma poética que guia a leitura do restante do livro. Assim, ao promovermos uma análise duplamente imanente do poema, que, sem subjugar a leitura a dados externos, deixa o texto revelar as estruturas internas que compõem sua poeticidade (e modernidade), tentamos prestar uma homenagem que escape dos tons biográfico e histórico que, com seus méritos, parecem dominar os louros deste centenário

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    Estudos Semióticos (ISSN 1980-4016)
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