Inovação e o sentido de vanguarda no design gráfico editorial

O mercado editorial de livros é marcado pela tradição e tem bem estabelecidos certos critérios de design que se mantêm constantes ao longo dos séculos. 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 é a Cosac Naify, da qual selecionamos para análise uma série de livros específica, a Coleção Particular. Essa coleção constrói efeitos de sentido de inovação e de vanguarda por meio da exploração de seus projetos gráficos. A partir da moldura teórico-metodológica da Semiótica Discursiva, objetivamos compreender a maneira como se constroem tais efeitos de sentido. Concluímos 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 própria história 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 même 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 même histoire, in short, suggests that there are no “adult” subjects that cannot be addressed in children’s literature, and vice versa.Toujours la même histoire é um exercício de criação literária que propõe narrar uma mesma história três vezes consecutivas, cada versão dedicada a um público 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 três faixas etárias, problematizando-as? Objetivamos compreender como tais convenções são respeitadas ou subvertidas, especialmente em termos de exploração da plasticidade do projeto gráfico, das escolhas enunciativas dos três discursos verbais que concretizam narrativas semelhantes, mas não idênticas, e do uso das ilustrações que os acompanham. Metodologicamente, partimos do arcabouço teórico da Semiótica elaborada por A. J. Greimas e seus colaboradores, considerando especialmente os desenvolvimentos da Semiótica plástica. Ao final, compreendemos que, ao respeitar estritamente as regras de gênero nos seus enunciados plásticos e verbais, a obra rompe algumas tradições editoriais tratando exatamente dos mesmos temas e valores nas suas três versões, negando por meio da enunciação editorial as costumeiras indicações de leitura baseadas em idade cronológica. Toujours la même histoire, enfim, sugere que não há assuntos “adultos” que não 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 tendências propostos pelos bureaux de style se sedimentaram como uma estratégia 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 é fundamental que uma previsão de tendência seja percebida como “verdadeira” por seus destinatários. Ao refletir sobre os estudos de tendências a partir de uma perspectiva semiótico-discursiva, objetiva-se compreender como se atribui o estatuto de verdade aos discursos do campo da pesquisa de tendências. Adota-se a abordagem teórico-metodológica da Semiótica Discursiva de A. J. Greimas, principalmente em sua proposição do contrato de veridicção, bem como seus desdobramentos na Sociossemiótica de Eric Landowski, nos estudos da enunciação e nos estudos semióticos sobre Moda e tendências. A partir dessa reflexão, entende-se que o estatuto da verdade na área da pesquisa de tendências está menos ligado à verificação de como a antecipação se concretiza (ou não) na vida vivida, e mais relacionado ao modo de ver a realidade dos analistas de tendências e à sua capacidade de fazer-crer os criadores e compradores de moda nessa visão específica

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 tendências propostos pelos bureaux de style se sedimentaram como uma estratégia 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 é fundamental que uma previsão de tendência seja percebida como “verdadeira” por seus destinatários. Ao refletir sobre os estudos de tendências a partir de uma perspectiva semiótico-discursiva, objetiva-se compreender como se atribui o estatuto de verdade aos discursos do campo da pesquisa de tendências. Adota-se a abordagem teórico-metodológica da Semiótica Discursiva de A. J. Greimas, principalmente em sua proposição do contrato de veridicção, bem como seus desdobramentos na Sociossemiótica de Eric Landowski, nos estudos da enunciação e nos estudos semióticos sobre Moda e tendências. A partir dessa reflexão, entende-se que o estatuto da verdade na área da pesquisa de tendências está menos ligado à verificação de como a antecipação se concretiza (ou não) na vida vivida, e mais relacionado ao modo de ver a realidade dos analistas de tendências e à sua capacidade de fazer-crer os criadores e compradores de moda nessa visão específica

A pluralidade de linguagens em ebooks inclusivos

Apropriando­se de estudos semióticos, este artigo analisa a construção da totalidade de sentido no livro ilustrado “O Homem que Amava Caixas” e em sua adaptação digital com vídeo em Libras, de modo a compreender a estrutura desse livro infantil e buscando a inclusão de crianças com deficiência auditiva através de meios digitais. A análise engloba o plano do conteúdo e o plano da expressão, sendo este de extrema importância para as conclusões finais acerca da pluralidade de linguagens presentes neste objeto sincrético

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: Inquérito Policial: Família Tobias (Ricardo Lísias), 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 présente recherche portera sur ce que nous appelons « l’objet littéraire intersémiotique » : il s’agit d’une détermination matérielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littéraire » par le groupe social, construite à partir de relations entre des différentes sémiotiques. En ce début du XXIe siècle, on constate, sur le marché éditorial et particulièrement dans des espaces tels que les foires d’art imprimé ou les librairies spécialisées sur les publications indépendantes, la présence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthétique du livre, marquées notamment par l’exploration plastique de leurs formants et l’intérêt pour les relations entre plusieurs systèmes sémiotiques (comme la sculpture, la photographie, l’infographie, etc.). À partir de l’observation du scénario éditorial, se sont délimités comme corpus de référence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (Brésil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque éditeur, considéré comme emblématique, a été sélectionné pour être analysé : Inquérito Policial: Família Tobias (Ricardo Lísias), 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’intersémioticité dans les objets littéraires destinés aux adultes du XXIe siècle ? D’autres problématiques complémentaires découlent de cette interrogation et englobent : (I) la conception du littéraire, (II) les relations entre les médias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimé et le numérique et (V) les divers types de risques assumés par les éditeurs. La Sémiotique développée par A. J. Greimas et ses collaborateurs constitue le cadre théorique et méthodologique employé dans les analyses de la thèse, notamment quant à ses répercussions dans les études de J.-M. Floch sur la plasticité, d’E. Landowski sur les régimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrétisme. L’hypothèse principale, selon laquelle les types de relations entre sémiotiques permettraient au lecteur d’expérimenter la construction de l’objet littéraire lui-même par différents langages, est validée tout au long de l’étude de chaque œuvre sélectionnée. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersémiotiques dans les objets littéraires, le principal résultat obtenu est la construction d’une telle schématisation à partir de l’opposition établie entre les relations intersémiotiques articulées intérieurement dans l’objet littéraire (« syncrétisées ») et celles traitées entre l’œuvre et les manifestations externes à elle (« discrétisées »). Cette proposition cherche à intégrer les enjeux habituellement abordés par les études de la « traduction intersémiotique » et du « syncrétisme des langages » dans une même problématique générale, celle des interrelations entre langages

Intersemioticity of the literary object

La présente recherche portera sur ce que nous appelons « l’objet littéraire intersémiotique » : il s’agit d’une détermination matérielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littéraire » par le groupe social, construite à partir de relations entre des différentes sémiotiques. En ce début du XXIe siècle, on constate, sur le marché éditorial et particulièrement dans des espaces tels que les foires d’art imprimé ou les librairies spécialisées sur les publications indépendantes, la présence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthétique du livre, marquées notamment par l’exploration plastique de leurs formants et l’intérêt pour les relations entre plusieurs systèmes sémiotiques (comme la sculpture, la photographie, l’infographie, etc.). À partir de l’observation du scénario éditorial, se sont délimités comme corpus de référence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (Brésil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque éditeur, considéré comme emblématique, a été sélectionné pour être analysé : Inquérito Policial: Família Tobias (Ricardo Lísias), 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’intersémioticité dans les objets littéraires destinés aux adultes du XXIe siècle ? D’autres problématiques complémentaires découlent de cette interrogation et englobent : (I) la conception du littéraire, (II) les relations entre les médias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimé et le numérique et (V) les divers types de risques assumés par les éditeurs. La Sémiotique développée par A. J. Greimas et ses collaborateurs constitue le cadre théorique et méthodologique employé dans les analyses de la thèse, notamment quant à ses répercussions dans les études de J.-M. Floch sur la plasticité, d’E. Landowski sur les régimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrétisme. L’hypothèse principale, selon laquelle les types de relations entre sémiotiques permettraient au lecteur d’expérimenter la construction de l’objet littéraire lui-même par différents langages, est validée tout au long de l’étude de chaque œuvre sélectionnée. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersémiotiques dans les objets littéraires, le principal résultat obtenu est la construction d’une telle schématisation à partir de l’opposition établie entre les relations intersémiotiques articulées intérieurement dans l’objet littéraire (« syncrétisées ») et celles traitées entre l’œuvre et les manifestations externes à elle (« discrétisées »). Cette proposition cherche à intégrer les enjeux habituellement abordés par les études de la « traduction intersémiotique » et du « syncrétisme des langages » dans une même problématique générale, 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: Inquérito Policial: Família Tobias (Ricardo Lísias), 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: Inquérito Policial: Família Tobias (Ricardo Lísias), 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 présente recherche portera sur ce que nous appelons « l’objet littéraire intersémiotique » : il s’agit d’une détermination matérielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littéraire » par le groupe social, construite à partir de relations entre des différentes sémiotiques. En ce début du XXIe siècle, on constate, sur le marché éditorial et particulièrement dans des espaces tels que les foires d’art imprimé ou les librairies spécialisées sur les publications indépendantes, la présence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthétique du livre, marquées notamment par l’exploration plastique de leurs formants et l’intérêt pour les relations entre plusieurs systèmes sémiotiques (comme la sculpture, la photographie, l’infographie, etc.). À partir de l’observation du scénario éditorial, se sont délimités comme corpus de référence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (Brésil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque éditeur, considéré comme emblématique, a été sélectionné pour être analysé : Inquérito Policial: Família Tobias (Ricardo Lísias), 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’intersémioticité dans les objets littéraires destinés aux adultes du XXIe siècle ? D’autres problématiques complémentaires découlent de cette interrogation et englobent : (I) la conception du littéraire, (II) les relations entre les médias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimé et le numérique et (V) les divers types de risques assumés par les éditeurs. La Sémiotique développée par A. J. Greimas et ses collaborateurs constitue le cadre théorique et méthodologique employé dans les analyses de la thèse, notamment quant à ses répercussions dans les études de J.-M. Floch sur la plasticité, d’E. Landowski sur les régimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrétisme. L’hypothèse principale, selon laquelle les types de relations entre sémiotiques permettraient au lecteur d’expérimenter la construction de l’objet littéraire lui-même par différents langages, est validée tout au long de l’étude de chaque œuvre sélectionnée. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersémiotiques dans les objets littéraires, le principal résultat obtenu est la construction d’une telle schématisation à partir de l’opposition établie entre les relations intersémiotiques articulées intérieurement dans l’objet littéraire (« syncrétisées ») et celles traitées entre l’œuvre et les manifestations externes à elle (« discrétisées »). Cette proposition cherche à intégrer les enjeux habituellement abordés par les études de la « traduction intersémiotique » et du « syncrétisme des langages » dans une même problématique générale, 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: Inquérito Policial: Família Tobias (Ricardo Lísias), 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 présente recherche portera sur ce que nous appelons « l’objet littéraire intersémiotique » : il s’agit d’une détermination matérielle et spatio-temporelle investie de signification, qui comprend un discours perçu comme « littéraire » par le groupe social, construite à partir de relations entre des différentes sémiotiques. En ce début du XXIe siècle, on constate, sur le marché éditorial et particulièrement dans des espaces tels que les foires d’art imprimé ou les librairies spécialisées sur les publications indépendantes, la présence accrue de ce type d’œuvres contemporaines. Ce sont des publications investies dans la construction d’une nouvelle esthétique du livre, marquées notamment par l’exploration plastique de leurs formants et l’intérêt pour les relations entre plusieurs systèmes sémiotiques (comme la sculpture, la photographie, l’infographie, etc.). À partir de l’observation du scénario éditorial, se sont délimités comme corpus de référence trois maisons d’éditions avec des approches semblables lors du traitement du livre : Lote 42 (Brésil), Visual Editions (Angleterre) et Éditions Non Standard (France). Un livre de chaque éditeur, considéré comme emblématique, a été sélectionné pour être analysé : Inquérito Policial: Família Tobias (Ricardo Lísias), 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’intersémioticité dans les objets littéraires destinés aux adultes du XXIe siècle ? D’autres problématiques complémentaires découlent de cette interrogation et englobent : (I) la conception du littéraire, (II) les relations entre les médias, (III) la saisie sensible en tant que condition de lecture, (IV) les relations entre l’imprimé et le numérique et (V) les divers types de risques assumés par les éditeurs. La Sémiotique développée par A. J. Greimas et ses collaborateurs constitue le cadre théorique et méthodologique employé dans les analyses de la thèse, notamment quant à ses répercussions dans les études de J.-M. Floch sur la plasticité, d’E. Landowski sur les régimes d’interaction, de risque et de sens et d’A. C. de Oliveira sur le syncrétisme. L’hypothèse principale, selon laquelle les types de relations entre sémiotiques permettraient au lecteur d’expérimenter la construction de l’objet littéraire lui-même par différents langages, est validée tout au long de l’étude de chaque œuvre sélectionnée. Compte tenu de l’objectif d’élaborer une typologie des modes de relations intersémiotiques dans les objets littéraires, le principal résultat obtenu est la construction d’une telle schématisation à partir de l’opposition établie entre les relations intersémiotiques articulées intérieurement dans l’objet littéraire (« syncrétisées ») et celles traitées entre l’œuvre et les manifestations externes à elle (« discrétisées »). Cette proposition cherche à intégrer les enjeux habituellement abordés par les études de la « traduction intersémiotique » et du « syncrétisme des langages » dans une même problématique générale, celle des interrelations entre langages