11 research outputs found
Inovação e o sentido de vanguarda no design gráfico editorial
O mercado editorial de livros Ă© marcado pela tradição e tem bem estabelecidos certos critĂ©rios de design que se mantĂŞm constantes ao longo dos sĂ©culos. No entanto, alguns projetos gráficos de livros contemporâneos propõem mudanças na estrutura elementar do livro, apresentando uma intensa exploração formal. Uma editora brasileira que se destaca por seu investimento em design Ă© a Cosac Naify, da qual selecionamos para análise uma sĂ©rie de livros especĂfica, a Coleção Particular. Essa coleção constrĂłi efeitos de sentido de inovação e de vanguarda por meio da exploração de seus projetos gráficos. A partir da moldura teĂłrico-metodolĂłgica da SemiĂłtica Discursiva, objetivamos compreender a maneira como se constroem tais efeitos de sentido. ConcluĂmos que a vanguarda da Cosac Naify apresenta-se como um termo complexo, que une tradição e inovação, pois ao mesmo tempo em que a editora propõe acabamentos, materiais e processos produtivos contemporâneos, seus livros retomam a prĂłpria histĂłria do livro em construções discursivas e plásticas que propiciam uma sensibilização do leitor
Subversão das classificações etárias de leitura pela enunciação editorial de Toujours la même histoire
Toujours la mĂŞme histoire is a creative literary exercise which consisted in retelling the same story three times in a row. Each version was dedicated to a different reading audience: children, youth and adults. We ask ourselves: how does the exploration of the printed book’s plasticity and of its verbal discourses reflects the editorial conventions for these three age groups, at the same time debating them? We aim to understand how such conventions are respected or subverted, especially in terms of exploring the plasticity of the graphic design, the enunciative choices of the three verbal discourses that establish similar but not identical narratives, and the use of illustrations. Methodologically, we employ the theoretical framework of Semiotics, and particularly of Plastic Semiotics, developed by A. J. Greimas and his collaborators. We finally understand that precisely because of strict respect for editorial rules in its plastic and verbal discourses, this book breaks away from some publishing traditions by exploring exactly the same themes and values in its three versions, denying through its editorial enunciation the usual reading indications based on chronological age. Toujours la mĂŞme histoire, in short, suggests that there are no “adult” subjects that cannot be addressed in children’s literature, and vice versa.Toujours la mĂŞme histoire Ă© um exercĂcio de criação literária que propõe narrar uma mesma histĂłria trĂŞs vezes consecutivas, cada versĂŁo dedicada a um pĂşblico leitor distinto: infantil, juvenil e adulto. Questionamo-nos: como a exploração da plasticidade do livro impresso e de seus discursos verbais apropria-se das convenções da literatura para essas trĂŞs faixas etárias, problematizando-as? Objetivamos compreender como tais convenções sĂŁo respeitadas ou subvertidas, especialmente em termos de exploração da plasticidade do projeto gráfico, das escolhas enunciativas dos trĂŞs discursos verbais que concretizam narrativas semelhantes, mas nĂŁo idĂŞnticas, e do uso das ilustrações que os acompanham. Metodologicamente, partimos do arcabouço teĂłrico da SemiĂłtica elaborada por A. J. Greimas e seus colaboradores, considerando especialmente os desenvolvimentos da SemiĂłtica plástica. Ao final, compreendemos que, ao respeitar estritamente as regras de gĂŞnero nos seus enunciados plásticos e verbais, a obra rompe algumas tradições editoriais tratando exatamente dos mesmos temas e valores nas suas trĂŞs versões, negando por meio da enunciação editorial as costumeiras indicações de leitura baseadas em idade cronolĂłgica. Toujours la mĂŞme histoire, enfim, sugere que nĂŁo há assuntos “adultos” que nĂŁo possam ser abordados na literatura infanto-juvenil, e vice-versa
Considerações sobre o estatuto da verdade nos estudos de tendências
In the world of fashion, the trend studies proposed by bureaux de style were established as a strategy to foresee certain clothing practices, aiming to minimize the risk of investment spent on the development of collections. However, anticipating future practices always presents a certain character of uncertainty, so it is essential that a trend forecast is perceived as “true” by its recipients. By reflecting on trend studies from a semiotic-discursive perspective, the objective is to understand how the status of truth is attributed to discourses in the field of trend research. The theoretical-methodological approach of Discursive Semiotics by A. J. Greimas is adopted, mainly in his proposition of the veridiction contract, as well as its developments in Eric Landowski’s Sociosemiotics, in enunciation studies and in semiotic studies on Fashion and trends. From this study, it is understood that the statute of truth in trend research is less linked to verifying if the anticipation actually happens (or not), and more related to the way trend analysts perceive the reality and their ability to make fashion creators and buyers believe in this specific vision.No universo da moda, os estudos de tendĂŞncias propostos pelos bureaux de style se sedimentaram como uma estratĂ©gia de antever certas práticas vestimentares, visando a minimizar o risco de investimento despendido no desenvolvimento de coleções. Entretanto, antecipar práticas futuras apresenta sempre um certo caráter de incerteza, de modo que Ă© fundamental que uma previsĂŁo de tendĂŞncia seja percebida como “verdadeira” por seus destinatários. Ao refletir sobre os estudos de tendĂŞncias a partir de uma perspectiva semiĂłtico-discursiva, objetiva-se compreender como se atribui o estatuto de verdade aos discursos do campo da pesquisa de tendĂŞncias. Adota-se a abordagem teĂłrico-metodolĂłgica da SemiĂłtica Discursiva de A. J. Greimas, principalmente em sua proposição do contrato de veridicção, bem como seus desdobramentos na SociossemiĂłtica de Eric Landowski, nos estudos da enunciação e nos estudos semiĂłticos sobre Moda e tendĂŞncias. A partir dessa reflexĂŁo, entende-se que o estatuto da verdade na área da pesquisa de tendĂŞncias está menos ligado Ă verificação de como a antecipação se concretiza (ou nĂŁo) na vida vivida, e mais relacionado ao modo de ver a realidade dos analistas de tendĂŞncias e Ă sua capacidade de fazer-crer os criadores e compradores de moda nessa visĂŁo especĂfica
Considerações sobre o estatuto da verdade nos estudos de tendências
In the world of fashion, the trend studies proposed by bureaux de style were established as a strategy to foresee certain clothing practices, aiming to minimize the risk of investment spent on the development of collections. However, anticipating future practices always presents a certain character of uncertainty, so it is essential that a trend forecast is perceived as “true” by its recipients. By reflecting on trend studies from a semiotic-discursive perspective, the objective is to understand how the status of truth is attributed to discourses in the field of trend research. The theoretical-methodological approach of Discursive Semiotics by A. J. Greimas is adopted, mainly in his proposition of the veridiction contract, as well as its developments in Eric Landowski’s Sociosemiotics, in enunciation studies and in semiotic studies on Fashion and trends. From this study, it is understood that the statute of truth in trend research is less linked to verifying if the anticipation actually happens (or not), and more related to the way trend analysts perceive the reality and their ability to make fashion creators and buyers believe in this specific vision.No universo da moda, os estudos de tendĂŞncias propostos pelos bureaux de style se sedimentaram como uma estratĂ©gia de antever certas práticas vestimentares, visando a minimizar o risco de investimento despendido no desenvolvimento de coleções. Entretanto, antecipar práticas futuras apresenta sempre um certo caráter de incerteza, de modo que Ă© fundamental que uma previsĂŁo de tendĂŞncia seja percebida como “verdadeira” por seus destinatários. Ao refletir sobre os estudos de tendĂŞncias a partir de uma perspectiva semiĂłtico-discursiva, objetiva-se compreender como se atribui o estatuto de verdade aos discursos do campo da pesquisa de tendĂŞncias. Adota-se a abordagem teĂłrico-metodolĂłgica da SemiĂłtica Discursiva de A. J. Greimas, principalmente em sua proposição do contrato de veridicção, bem como seus desdobramentos na SociossemiĂłtica de Eric Landowski, nos estudos da enunciação e nos estudos semiĂłticos sobre Moda e tendĂŞncias. A partir dessa reflexĂŁo, entende-se que o estatuto da verdade na área da pesquisa de tendĂŞncias está menos ligado Ă verificação de como a antecipação se concretiza (ou nĂŁo) na vida vivida, e mais relacionado ao modo de ver a realidade dos analistas de tendĂŞncias e Ă sua capacidade de fazer-crer os criadores e compradores de moda nessa visĂŁo especĂfica
A pluralidade de linguagens em ebooks inclusivos
ApropriandoÂse de estudos semiĂłticos, este artigo analisa a construção da totalidade de sentido no livro ilustrado “O Homem que Amava Caixas” e em sua adaptação digital com vĂdeo em Libras, de modo a compreender a estrutura desse livro infantil e buscando a inclusĂŁo de crianças com deficiĂŞncia auditiva atravĂ©s de meios digitais. A análise engloba o plano do conteĂşdo e o plano da expressĂŁo, sendo este de extrema importância para as conclusões finais acerca da pluralidade de linguagens presentes neste objeto sincrĂ©tico
Intersémioticités de l'Objet Littéraire
The object of study of this thesis is what could be called an “intersemiotic literary object”: a material and spatiotemporal determination invested with meaning, which comprises a discourse perceived as “literary” by the social body, built from relations between different semiotics. In this beginning of the 21st century, in the editorial market and especially in spaces such as printed art fairs or bookstores specialized in independent publications, an intensified presence of this type of contemporary work is perceived. These are publications that are engaged in constructing a new aesthetics of the book, as they are marked by the plastic exploration of their formants and by the investment in connections between various semiotic systems (sculpture, photography, infographics, etc.). Based on an observation of the editorial scenario, a reference corpus is defined, composed by three publishing houses with similar approaches in the treatment of their publications: Lote 42 (Brazil), Visual Editions (England) and Éditions Non Standard (France). From each publisher, a single book considered emblematic is selected for analysis: InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) and Lettres du Havre (Élodie Boyer and Jean Segui). The research problem is: how are intersemiotic relations constructed in the literary objects for adults in the 21st century? This generates complementary issues, which encompass: (1) the very conception of the literary, (2) the relations between media, (3) the sensitive apprehension as a condition of reading, (4) the relations between printed and digital and (5) the types of risks assumed by publishers. The theoretical and methodological framework employed in the analysis consists of the Semiotic theory developed by A. J. Greimas and its developments, especially the studies on plasticity by J.-M. Floch, on the interaction, risk and sense regimes by E. Landowski and on syncretism by A. C. de Oliveira. Our main hypothesis, that the types of relations between semiotics would provide the reader with the lived experience of the construction of the literary object itself through its various languages, is validated throughout the study of each selected work. With the objective of building a typology of intersemioticity modes in literary objects, the main result is the elaboration of such a schematization, based on the opposition established between intersemiotic relations articulated internally in the literary object (“syncretized”) and those processed between the literary work and manifestations external to it (“discretized”). This proposition seeks to integrate issues usually addressed by the studies of “intersemiotic translation” and “language syncretism” in the same general problem, that one of the inter-relationships between languages.La prĂ©sente recherche portera sur ce que nous appelons « l’objet littĂ©raire intersĂ©miotique » : il s’agit d’une dĂ©termination matĂ©rielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littĂ©raire » par le groupe social, construite Ă partir de relations entre des diffĂ©rentes sĂ©miotiques. En ce dĂ©but du XXIe siècle, on constate, sur le marchĂ© Ă©ditorial et particulièrement dans des espaces tels que les foires d’art imprimĂ© ou les librairies spĂ©cialisĂ©es sur les publications indĂ©pendantes, la prĂ©sence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthĂ©tique du livre, marquĂ©es notamment par l’exploration plastique de leurs formants et l’intĂ©rĂŞt pour les relations entre plusieurs systèmes sĂ©miotiques (comme la sculpture, la photographie, l’infographie, etc.). Ă€ partir de l’observation du scĂ©nario Ă©ditorial, se sont dĂ©limitĂ©s comme corpus de rĂ©fĂ©rence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (BrĂ©sil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque Ă©diteur, considĂ©rĂ© comme emblĂ©matique, a Ă©tĂ© sĂ©lectionnĂ© pour ĂŞtre analysĂ© : InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) et Lettres du Havre (Élodie Boyer et Jean Segui). L’interrogation au centre de la recherche est la suivante : comment se construisent les relations d’intersĂ©mioticitĂ© dans les objets littĂ©raires destinĂ©s aux adultes du XXIe siècle ? D’autres problĂ©matiques complĂ©mentaires dĂ©coulent de cette interrogation et englobent : (I) la conception du littĂ©raire, (II) les relations entre les mĂ©dias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimĂ© et le numĂ©rique et (V) les divers types de risques assumĂ©s par les Ă©diteurs. La SĂ©miotique dĂ©veloppĂ©e par A. J. Greimas et ses collaborateurs constitue le cadre thĂ©orique et mĂ©thodologique employĂ© dans les analyses de la thèse, notamment quant Ă ses rĂ©percussions dans les Ă©tudes de J.-M. Floch sur la plasticitĂ©, d’E. Landowski sur les rĂ©gimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrĂ©tisme. L’hypothèse principale, selon laquelle les types de relations entre sĂ©miotiques permettraient au lecteur d’expĂ©rimenter la construction de l’objet littĂ©raire lui-mĂŞme par diffĂ©rents langages, est validĂ©e tout au long de l’étude de chaque Ĺ“uvre sĂ©lectionnĂ©e. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersĂ©miotiques dans les objets littĂ©raires, le principal rĂ©sultat obtenu est la construction d’une telle schĂ©matisation Ă partir de l’opposition Ă©tablie entre les relations intersĂ©miotiques articulĂ©es intĂ©rieurement dans l’objet littĂ©raire (« syncrĂ©tisĂ©es ») et celles traitĂ©es entre l’œuvre et les manifestations externes Ă elle (« discrĂ©tisĂ©es »). Cette proposition cherche Ă intĂ©grer les enjeux habituellement abordĂ©s par les Ă©tudes de la « traduction intersĂ©miotique » et du « syncrĂ©tisme des langages » dans une mĂŞme problĂ©matique gĂ©nĂ©rale, celle des interrelations entre langages
Intersemioticity of the literary object
La prĂ©sente recherche portera sur ce que nous appelons « l’objet littĂ©raire intersĂ©miotique » : il s’agit d’une dĂ©termination matĂ©rielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littĂ©raire » par le groupe social, construite Ă partir de relations entre des diffĂ©rentes sĂ©miotiques. En ce dĂ©but du XXIe siècle, on constate, sur le marchĂ© Ă©ditorial et particulièrement dans des espaces tels que les foires d’art imprimĂ© ou les librairies spĂ©cialisĂ©es sur les publications indĂ©pendantes, la prĂ©sence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthĂ©tique du livre, marquĂ©es notamment par l’exploration plastique de leurs formants et l’intĂ©rĂŞt pour les relations entre plusieurs systèmes sĂ©miotiques (comme la sculpture, la photographie, l’infographie, etc.). Ă€ partir de l’observation du scĂ©nario Ă©ditorial, se sont dĂ©limitĂ©s comme corpus de rĂ©fĂ©rence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (BrĂ©sil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque Ă©diteur, considĂ©rĂ© comme emblĂ©matique, a Ă©tĂ© sĂ©lectionnĂ© pour ĂŞtre analysĂ© : InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) et Lettres du Havre (Élodie Boyer et Jean Segui). L’interrogation au centre de la recherche est la suivante : comment se construisent les relations d’intersĂ©mioticitĂ© dans les objets littĂ©raires destinĂ©s aux adultes du XXIe siècle ? D’autres problĂ©matiques complĂ©mentaires dĂ©coulent de cette interrogation et englobent : (I) la conception du littĂ©raire, (II) les relations entre les mĂ©dias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimĂ© et le numĂ©rique et (V) les divers types de risques assumĂ©s par les Ă©diteurs. La SĂ©miotique dĂ©veloppĂ©e par A. J. Greimas et ses collaborateurs constitue le cadre thĂ©orique et mĂ©thodologique employĂ© dans les analyses de la thèse, notamment quant Ă ses rĂ©percussions dans les Ă©tudes de J.-M. Floch sur la plasticitĂ©, d’E. Landowski sur les rĂ©gimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrĂ©tisme. L’hypothèse principale, selon laquelle les types de relations entre sĂ©miotiques permettraient au lecteur d’expĂ©rimenter la construction de l’objet littĂ©raire lui-mĂŞme par diffĂ©rents langages, est validĂ©e tout au long de l’étude de chaque Ĺ“uvre sĂ©lectionnĂ©e. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersĂ©miotiques dans les objets littĂ©raires, le principal rĂ©sultat obtenu est la construction d’une telle schĂ©matisation Ă partir de l’opposition Ă©tablie entre les relations intersĂ©miotiques articulĂ©es intĂ©rieurement dans l’objet littĂ©raire (« syncrĂ©tisĂ©es ») et celles traitĂ©es entre l’œuvre et les manifestations externes Ă elle (« discrĂ©tisĂ©es »). Cette proposition cherche Ă intĂ©grer les enjeux habituellement abordĂ©s par les Ă©tudes de la « traduction intersĂ©miotique » et du « syncrĂ©tisme des langages » dans une mĂŞme problĂ©matique gĂ©nĂ©rale, celle des interrelations entre langages.The object of study of this thesis is what could be called an “intersemiotic literary object”: a material and spatiotemporal determination invested with meaning, which comprises a discourse perceived as “literary” by the social body, built from relations between different semiotics. In this beginning of the 21st century, in the editorial market and especially in spaces such as printed art fairs or bookstores specialized in independent publications, an intensified presence of this type of contemporary work is perceived. These are publications that are engaged in constructing a new aesthetics of the book, as they are marked by the plastic exploration of their formants and by the investment in connections between various semiotic systems (sculpture, photography, infographics, etc.). Based on an observation of the editorial scenario, a reference corpus is defined, composed by three publishing houses with similar approaches in the treatment of their publications: Lote 42 (Brazil), Visual Editions (England) and Éditions Non Standard (France). From each publisher, a single book considered emblematic is selected for analysis: InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) and Lettres du Havre (Élodie Boyer and Jean Segui). The research problem is: how are intersemiotic relations constructed in the literary objects for adults in the 21st century? This generates complementary issues, which encompass: (1) the very conception of the literary, (2) the relations between media, (3) the sensitive apprehension as a condition of reading, (4) the relations between printed and digital and (5) the types of risks assumed by publishers. The theoretical and methodological framework employed in the analysis consists of the Semiotic theory developed by A. J. Greimas and its developments, especially the studies on plasticity by J.-M. Floch, on the interaction, risk and sense regimes by E. Landowski and on syncretism by A. C. de Oliveira. Our main hypothesis, that the types of relations between semiotics would provide the reader with the lived experience of the construction of the literary object itself through its various languages, is validated throughout the study of each selected work. With the objective of building a typology of intersemioticity modes in literary objects, the main result is the elaboration of such a schematization, based on the opposition established between intersemiotic relations articulated internally in the literary object (“syncretized”) and those processed between the literary work and manifestations external to it (“discretized”). This proposition seeks to integrate issues usually addressed by the studies of “intersemiotic translation” and “language syncretism” in the same general problem, that one of the inter-relationships between languages
Intersémioticités de l'Objet Littéraire
The object of study of this thesis is what could be called an “intersemiotic literary object”: a material and spatiotemporal determination invested with meaning, which comprises a discourse perceived as “literary” by the social body, built from relations between different semiotics. In this beginning of the 21st century, in the editorial market and especially in spaces such as printed art fairs or bookstores specialized in independent publications, an intensified presence of this type of contemporary work is perceived. These are publications that are engaged in constructing a new aesthetics of the book, as they are marked by the plastic exploration of their formants and by the investment in connections between various semiotic systems (sculpture, photography, infographics, etc.). Based on an observation of the editorial scenario, a reference corpus is defined, composed by three publishing houses with similar approaches in the treatment of their publications: Lote 42 (Brazil), Visual Editions (England) and Éditions Non Standard (France). From each publisher, a single book considered emblematic is selected for analysis: InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) and Lettres du Havre (Élodie Boyer and Jean Segui). The research problem is: how are intersemiotic relations constructed in the literary objects for adults in the 21st century? This generates complementary issues, which encompass: (1) the very conception of the literary, (2) the relations between media, (3) the sensitive apprehension as a condition of reading, (4) the relations between printed and digital and (5) the types of risks assumed by publishers. The theoretical and methodological framework employed in the analysis consists of the Semiotic theory developed by A. J. Greimas and its developments, especially the studies on plasticity by J.-M. Floch, on the interaction, risk and sense regimes by E. Landowski and on syncretism by A. C. de Oliveira. Our main hypothesis, that the types of relations between semiotics would provide the reader with the lived experience of the construction of the literary object itself through its various languages, is validated throughout the study of each selected work. With the objective of building a typology of intersemioticity modes in literary objects, the main result is the elaboration of such a schematization, based on the opposition established between intersemiotic relations articulated internally in the literary object (“syncretized”) and those processed between the literary work and manifestations external to it (“discretized”). This proposition seeks to integrate issues usually addressed by the studies of “intersemiotic translation” and “language syncretism” in the same general problem, that one of the inter-relationships between languages.La prĂ©sente recherche portera sur ce que nous appelons « l’objet littĂ©raire intersĂ©miotique » : il s’agit d’une dĂ©termination matĂ©rielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littĂ©raire » par le groupe social, construite Ă partir de relations entre des diffĂ©rentes sĂ©miotiques. En ce dĂ©but du XXIe siècle, on constate, sur le marchĂ© Ă©ditorial et particulièrement dans des espaces tels que les foires d’art imprimĂ© ou les librairies spĂ©cialisĂ©es sur les publications indĂ©pendantes, la prĂ©sence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthĂ©tique du livre, marquĂ©es notamment par l’exploration plastique de leurs formants et l’intĂ©rĂŞt pour les relations entre plusieurs systèmes sĂ©miotiques (comme la sculpture, la photographie, l’infographie, etc.). Ă€ partir de l’observation du scĂ©nario Ă©ditorial, se sont dĂ©limitĂ©s comme corpus de rĂ©fĂ©rence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (BrĂ©sil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque Ă©diteur, considĂ©rĂ© comme emblĂ©matique, a Ă©tĂ© sĂ©lectionnĂ© pour ĂŞtre analysĂ© : InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) et Lettres du Havre (Élodie Boyer et Jean Segui). L’interrogation au centre de la recherche est la suivante : comment se construisent les relations d’intersĂ©mioticitĂ© dans les objets littĂ©raires destinĂ©s aux adultes du XXIe siècle ? D’autres problĂ©matiques complĂ©mentaires dĂ©coulent de cette interrogation et englobent : (I) la conception du littĂ©raire, (II) les relations entre les mĂ©dias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimĂ© et le numĂ©rique et (V) les divers types de risques assumĂ©s par les Ă©diteurs. La SĂ©miotique dĂ©veloppĂ©e par A. J. Greimas et ses collaborateurs constitue le cadre thĂ©orique et mĂ©thodologique employĂ© dans les analyses de la thèse, notamment quant Ă ses rĂ©percussions dans les Ă©tudes de J.-M. Floch sur la plasticitĂ©, d’E. Landowski sur les rĂ©gimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrĂ©tisme. L’hypothèse principale, selon laquelle les types de relations entre sĂ©miotiques permettraient au lecteur d’expĂ©rimenter la construction de l’objet littĂ©raire lui-mĂŞme par diffĂ©rents langages, est validĂ©e tout au long de l’étude de chaque Ĺ“uvre sĂ©lectionnĂ©e. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersĂ©miotiques dans les objets littĂ©raires, le principal rĂ©sultat obtenu est la construction d’une telle schĂ©matisation Ă partir de l’opposition Ă©tablie entre les relations intersĂ©miotiques articulĂ©es intĂ©rieurement dans l’objet littĂ©raire (« syncrĂ©tisĂ©es ») et celles traitĂ©es entre l’œuvre et les manifestations externes Ă elle (« discrĂ©tisĂ©es »). Cette proposition cherche Ă intĂ©grer les enjeux habituellement abordĂ©s par les Ă©tudes de la « traduction intersĂ©miotique » et du « syncrĂ©tisme des langages » dans une mĂŞme problĂ©matique gĂ©nĂ©rale, celle des interrelations entre langages
Intersémioticités de l'Objet Littéraire
The object of study of this thesis is what could be called an “intersemiotic literary object”: a material and spatiotemporal determination invested with meaning, which comprises a discourse perceived as “literary” by the social body, built from relations between different semiotics. In this beginning of the 21st century, in the editorial market and especially in spaces such as printed art fairs or bookstores specialized in independent publications, an intensified presence of this type of contemporary work is perceived. These are publications that are engaged in constructing a new aesthetics of the book, as they are marked by the plastic exploration of their formants and by the investment in connections between various semiotic systems (sculpture, photography, infographics, etc.). Based on an observation of the editorial scenario, a reference corpus is defined, composed by three publishing houses with similar approaches in the treatment of their publications: Lote 42 (Brazil), Visual Editions (England) and Éditions Non Standard (France). From each publisher, a single book considered emblematic is selected for analysis: InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) and Lettres du Havre (Élodie Boyer and Jean Segui). The research problem is: how are intersemiotic relations constructed in the literary objects for adults in the 21st century? This generates complementary issues, which encompass: (1) the very conception of the literary, (2) the relations between media, (3) the sensitive apprehension as a condition of reading, (4) the relations between printed and digital and (5) the types of risks assumed by publishers. The theoretical and methodological framework employed in the analysis consists of the Semiotic theory developed by A. J. Greimas and its developments, especially the studies on plasticity by J.-M. Floch, on the interaction, risk and sense regimes by E. Landowski and on syncretism by A. C. de Oliveira. Our main hypothesis, that the types of relations between semiotics would provide the reader with the lived experience of the construction of the literary object itself through its various languages, is validated throughout the study of each selected work. With the objective of building a typology of intersemioticity modes in literary objects, the main result is the elaboration of such a schematization, based on the opposition established between intersemiotic relations articulated internally in the literary object (“syncretized”) and those processed between the literary work and manifestations external to it (“discretized”). This proposition seeks to integrate issues usually addressed by the studies of “intersemiotic translation” and “language syncretism” in the same general problem, that one of the inter-relationships between languages.La prĂ©sente recherche portera sur ce que nous appelons « l’objet littĂ©raire intersĂ©miotique » : il s’agit d’une dĂ©termination matĂ©rielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littĂ©raire » par le groupe social, construite Ă partir de relations entre des diffĂ©rentes sĂ©miotiques. En ce dĂ©but du XXIe siècle, on constate, sur le marchĂ© Ă©ditorial et particulièrement dans des espaces tels que les foires d’art imprimĂ© ou les librairies spĂ©cialisĂ©es sur les publications indĂ©pendantes, la prĂ©sence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthĂ©tique du livre, marquĂ©es notamment par l’exploration plastique de leurs formants et l’intĂ©rĂŞt pour les relations entre plusieurs systèmes sĂ©miotiques (comme la sculpture, la photographie, l’infographie, etc.). Ă€ partir de l’observation du scĂ©nario Ă©ditorial, se sont dĂ©limitĂ©s comme corpus de rĂ©fĂ©rence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (BrĂ©sil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque Ă©diteur, considĂ©rĂ© comme emblĂ©matique, a Ă©tĂ© sĂ©lectionnĂ© pour ĂŞtre analysĂ© : InquĂ©rito Policial: FamĂlia Tobias (Ricardo LĂsias), Tree of Codes (Jonathan Safran Foer) et Lettres du Havre (Élodie Boyer et Jean Segui). L’interrogation au centre de la recherche est la suivante : comment se construisent les relations d’intersĂ©mioticitĂ© dans les objets littĂ©raires destinĂ©s aux adultes du XXIe siècle ? D’autres problĂ©matiques complĂ©mentaires dĂ©coulent de cette interrogation et englobent : (I) la conception du littĂ©raire, (II) les relations entre les mĂ©dias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimĂ© et le numĂ©rique et (V) les divers types de risques assumĂ©s par les Ă©diteurs. La SĂ©miotique dĂ©veloppĂ©e par A. J. Greimas et ses collaborateurs constitue le cadre thĂ©orique et mĂ©thodologique employĂ© dans les analyses de la thèse, notamment quant Ă ses rĂ©percussions dans les Ă©tudes de J.-M. Floch sur la plasticitĂ©, d’E. Landowski sur les rĂ©gimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrĂ©tisme. L’hypothèse principale, selon laquelle les types de relations entre sĂ©miotiques permettraient au lecteur d’expĂ©rimenter la construction de l’objet littĂ©raire lui-mĂŞme par diffĂ©rents langages, est validĂ©e tout au long de l’étude de chaque Ĺ“uvre sĂ©lectionnĂ©e. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersĂ©miotiques dans les objets littĂ©raires, le principal rĂ©sultat obtenu est la construction d’une telle schĂ©matisation Ă partir de l’opposition Ă©tablie entre les relations intersĂ©miotiques articulĂ©es intĂ©rieurement dans l’objet littĂ©raire (« syncrĂ©tisĂ©es ») et celles traitĂ©es entre l’œuvre et les manifestations externes Ă elle (« discrĂ©tisĂ©es »). Cette proposition cherche Ă intĂ©grer les enjeux habituellement abordĂ©s par les Ă©tudes de la « traduction intersĂ©miotique » et du « syncrĂ©tisme des langages » dans une mĂŞme problĂ©matique gĂ©nĂ©rale, celle des interrelations entre langages