Between expressions and contents: from semisymbolism to tensive categories / Entre expressões e conteúdos: do semissimbolismo às categorias tensivas

AUTOR(ES)
DATA DE PUBLICAÇÃO

2010

RESUMO

In the framework of French Semiotics, the concept of semisymbolism enabled a more systematic study of the contributions of the expression to the meaning in texts. It became possible to recognize categories on the level of manifestation of texts that would then be homologated to opposing pairs in the content. Though it meant a great theoretical gain, semisymbolism still had limitations, mainly because the relations it established were contingent and transitory, and, therefore, did not allow for a comparison between different objects. With the developments of the Tensive Model, new ways of relating expression and content were envisaged. Borrowing terms from the expression component, Claude Zilberberg proposed categories that were sufficiently broad to be applied to both planes of the linguistic sign. Under this new perspective, the tensive categories could be seen as the complex term that would link, on a more abstract level, the semisymbolic categories for the expression, on the one side, and for the content, on the other. Having as object of analysis a set of advertisement films, this study proposes to test and extend the uses of the Tensive Model, with the purpose of investigating (i) how tensive categories underlie the semisymbolic ones; (ii) how to apply the theoretical tools of Tensive Semiotics to both content and expression; (iii) which elements of the expression may be relevant to the constitution of the tensive curve of the texts that compose our corpus; and (iv) how to go directly from the figures of expression and content to the tensive analysis, without resorting to semisymbolic categories. The syncretic nature of the advertisements selected raises questions on the relation between different expressive dimensions (musical, verbal, visual). From the analysis of each film, we were able to make generalizations on the group of advertisements that emphasized (i) their differences and similarities in relation to the use of camera and music, (ii) the role played by repetitive structures in the tensive curve, and (iii) the climax structure common to all the films. In our conclusions, we returned to the relation between expression and content, in the light of the generalizations proposed, to present a new form of interaction between the two planes of the linguistic sign in the perspectives of Tensive Semiotics.

ASSUNTO(S)

enunciation semiótica tensiva semisymbolism persuasão advertisement film semissimbolismo tensive semiotics filme publicitário enunciação persuasion

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