O verbal e o não-verbal em manual de pintura e caligrafia, de José Saramago : contribuições da semiótica para a fruição da leitura
AUTOR(ES)
Maria Alzira de Carvalho Santos
FONTE
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia
DATA DE PUBLICAÇÃO
18/10/2010
RESUMO
In this work, we aim to present an intersemiotic reading about the José Saramagos novel Manual of painting and calligraphy to contribute to the construction of meaning of romance. This reading resulted of analyses and interpretations of the romantic character text consti-tuted by the verbal and non-verbal languages, in other words, of the narrative itself, seg-mented in seven parts, and of nine plastic objects subordinated to those segments. Such material is destined, in special, to courses related to the Portuguese Language teachers formation, as well as, in the indirect form, to pupils of the school of secondary education. The analyses are supported in the bases of the Greimas semiotics and of his followers. For the case of the non-verbal texts, there are also other invited theories, specially the Rudolf Arn-heims studies. We structure the presentation of the thesis in three chapters, besides the in-troduction, the conclusion and the list of references. In the Chapter 1, we propose to consider around the situation of the reading in Brazil. We are based on different studies, principally on documents prepared by the Education Ministry. In addition, we discuss the subject in what it concerns by the reading of the literary text, in special, the José Saramagos ones. For the case of the José Saramagos text, we present some criticism studies of his work. This chap-ter includes also a synthesis of the Greimas semiotic project and reflections about the phe-nomenon of the interdisciplinity. In the Chapter 2, we treat the subject of the image under the following aspects: of the image like expressive resource, of the hegemony of the image, of the redemption of the contemplation, of the visibility and of the vision, of the visual literacy, of the visual perception and of the plastic semiotics. In the Chapter 3, we present the analysis properly stated of the Manual of painting and calligraphy, initially, in the general form, fol-lowed by the analysis of the segments, in other words, of the verbal and visual passages. As a form of bringing up the phenomenon of the inter-semioticity, we draw in all the analyses a confrontation between the verbal and non-verbal significations. We check plastic objects of the following painters, all cited in the novel in study: Pieter Bruegel, Giorgione, Édouard Ma-net, Humberto Espíndola, Vitale da Bologna, Pablo Picasso, Francisco de Goya, René Ma-gritte and Peter Paul Rubens.
ASSUNTO(S)
ficção portuguesa semiótica e literatura leitura de imagem portuguese fiction semiotics and literature reading image
