Roland Barthes e a fotografia: a verdade da máscara
AUTOR(ES)
José Rodrigo Paulino Fontanari
FONTE
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia
DATA DE PUBLICAÇÃO
09/11/2012
RESUMO
This courrent research is committed to an accompaniment of Roland Barthess reflections on photography, encompassing an arc of events ranging from Mythologies (1957) to The Camera Lucida (1980). More specifically, we focus on the abandonment by the last Barthes of the denunciation of photographic myths and the unexpected introduction of todays classic concept of punctum, that reconciles the photographic representations with a certain impression of fairness, while the studium follows accusing its contingency. This carries monitoring the progressive breakdown of the author with the structuralist method and its passage to a last subjectivist position. Its still to refer those two concepts to the two so distinct Greek traditions: the Platonic line of denunciation of simulacra and vain reflexes, always raised by well-thinking people regarding the technical images, and the mythological line of gorgons - among which is Meduse, that of terrifying eyes -, which involves the dimension of penetrating images. The corpus of the research includes all the photos mentioned throughout Barthess work, many of them never found by Brazilian readers, but that have been encompassed from the development of this research in France together with Barthes manuscripts. Thus, the methodology comprises: a wide bibliographic research susceptible to indicate the state of the art of the studies on Barthes, a documentary research accomplished near the Centre Roland Barthes at Université de Paris VII and Bibliothèque Nationale de France (BNF) where we can currently find the so-called Fonds Roland Barthes, and even a field research involving a search of images referenced in The Camera Lucida. The theoretical reference includes the history of the Structuralism available nowadays, the most different and relevant studies about photography and the criticism of Platonism, as is the case of Gilles Deleuze. It is expected that this modest archeology could offer subsidies for an in-depth reflection on the behavior of spectators in the society of spectacle and also about a figuration of the otherness in the contemporary world, considering that the Gorgons face deals with the impact of otherness, implied in the pictures with punctum
ASSUNTO(S)
comunicacao roland barthes semiótica da fotografia punctum studium simulacros platônicos górgonas semiotics of photography punctum studium platonic simulacra gorgons
