Alguns procedimentos na poética de João Cabral e sua relação com a poesia contemporânea (década de 80 e 90)

Pós-graduação em Letras - IBILCE

Referenciação multimodal: a construção de objetos-de-discurso no jornal impresso Folha de S. Paulo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Linguagens sincréticas e construção da identidade na Revista Unesp Ciência: um estudo semiótico

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Narrativas interativas em audiovisual panorâmico para dispositivos móveis

Pós-graduação em Comunicação - FAAC

A new aspect of sign and its implications for the Theory of Communication

Este artigo propõe que a semiótica peirceana pode oferecer bases tanto lógicas quanto epistemológicas para a busca de uma teoria geral da comunicação. No entanto, o desenvolvimento de uma teoria semiótica da comunicação depende, em primeiro lugar, de uma melhor compreensão dos aspectos formais do signo, tarefa atribuída por Peirce à gramática, o primeiro ramo de sua semiótica. Nós apresentamos uma análise das relações do signo, revelando um aspecto não trabalhado por Peirce, ampliando seu número para onze. Este novo aspecto é a relação triádica entre signo, objeto dinâmico e interpretante dinâmico (S-OD-ID). Nós defendemos que esta relação é essencial para a compreensão da comunicação como semiose, por dar conta da repetição ou redundância do signo comunicativo, quando se cria ou transmite informação. O artigo pretende dar um passo a mais na direção de uma teoria da comunicação verdadeiramente universal, através do vínculo entre a semiótica peirceana e a moderna filosofia da linguagem.

CHARLES PEIRCE, GILLES DELEUZE E A CIÊNCIA DA INFORMAÇÃO

It presents the pragmatic philosophy of Charles Peirce and his theory of signs, as well as the modifications made by Gilles Deleuze in such theory, to be able to visualize the appropriation possible for Information Science in relation to both theories. Highlights the theory of signs peircian as space signs ones, suitable for Information Science while the deleuzian signs as time ones, suitable for a Philosophy of Information Science.

O ciclo da comunicação científica na semiosfera

Este ensaio apresenta a construção de um objeto de pesquisa com base na teoria da semiótica da cultura. São feitas reflexões sobre os sistemas modelizantes envolvidos no ciclo da comunicação científica em grupo de pesquisa de universidade, desde a busca da informação até a publicação dos resultados dos estudos. As linguagens naturais (idiomas) e artificiais (linguagem de busca em computadores e vocabulários controlados) são identificadas. A partir disso, o objeto se delineia como o conjunto de textos da cultura e a própria semiosfera, representada pelos diálogos dos sujeitos da cultura e o processo de comunicação envolvido. Alguns desafios se apresentam, como: a necessidade de aprofundamento na teoria da semiótica da cultura, a participação do pesquisador também como sujeito da pesquisa e o trabalho com a interdisciplinaridade para estudar um objeto com as vertentes da ciência da informação, biomedicina, semiótica e outras disciplinas a elas relacionadas.

Ricezione e Finzione. Una teoria della lettura tra struttura e risposta estetica

Attraverso l’analisi di teorie della lettura “centripete” e “centrifughe”, tra fenomenologia, semiotica e teoria della risposta estetica, questa ricerca punta a definire la lettura come un’esperienza estetica di una variabile e plurale letterarietà, o per essere più precisi, come una relazione estetica ad una funzione nel linguaggio, che di volta in volta diviene immanente e trascendente rispetto al linguaggio, immanente nella percepibilità espressiva del segno e trascendente nella sua ristretta finzionalità o fittività, aperta alla dimensione del senso. Così, la letterarietà è vista, dal punto di vista di una teoria della lettura, come una funzione che nega o sovverte il linguaggio ordinario, inteso come contesto normale, ma anche una funzione che permette il supplemento di senso del linguaggio. Ciò rende la definizione di cosa sia letteratura e di quali testi siano considerabili come letterari come una definizione dipendente dalla lettura, ed anche mette in questione la classica dicotomia tra linguaggio standard e linguaggio deviante, di secondo grado e figurativo, comportamento che distinguerebbe la letteratura. Questi quattro saggi vorrebbero dimostrare che la lettura, come una pratica estetica, è l’espressione di una oscillazione tra una Finzione variabile nei suoi effetti ed una Ricezione, la quale è una risposta estetica controllata dal testo, ma anche una relazione estetica all’artefatto a natura verbale. Solo in questo modo può essere compresa la caratteristica paradossale della lettura, il suo stare tra una percezione passiva ed un’attiva esecuzione, tra un’attenzione aspettuale ed una comprensione intenzionale. Queste modalità si riflettono anche sulla natura dialettica della lettura, come una dialettica di apertura e chiusura, ma anche di libertà e fedeltà, risposta ad uno stimolo che può essere interpretato come una domanda, e che presenta la lettura stessa come una premessa dell’interpretazione, come momento estetico. Così una teoria della lettura dipende necessariamente da una teoria dell’arte che si presenta come funzionale, relativa più al Quando vi è arte?/Come funziona? piuttosto che al Che cosa è Arte?, che rende questo secondo problema legato al primo. Inoltre, questo Quando dell’Arte, che definisce l’opera d’arte come un’arte- all’-opera, dipende a sua volta, in un campo letterario, dalla domanda Quando vi è esperienza estetica letteraria? e dalla sue condizioni, quelle di finzione e ricezione.

La questione percettiva in semiotica. Linee fondamentali e sviluppi della ricerca

This dissertation deals with the problems and the opportunities of a semiotic approach to perception. Is perception, seen as the ability to detect and articulate an coherent picture of the surrounding environment, describable in semiotic terms? Is it possibile, for a discipline wary of any attempt to reduce semiotic meaning to a psychological and naturalized issue, to come to terms with the cognitive, automatic and genetically hard-wired specifics of our perceptive systems? In order to deal with perceptive signs, is it necessary to modify basic assumptions in semiotics, or can we simply extend the range of our conceptual instruments and definitions? And what if perception is a wholly different semiotic machinery, to be considered as sui generis, but nonetheless interesting for a general theory of semiotics? By exposing the major ideas put forward by the main thinkers in the semiotic field, Mattia de Bernardis gives a comprehensive picture of the theoretical situation, adding to the classical dichotomy between structuralist and interpretative semiotics another distinction, that between homogeneist and etherogeneist theories of perception. Homogeneist semioticians see perception as one of many semiotic means of sign production, totally similar to the other ones, while heterogeneist semioticians consider perceptive meaning as essentially different from normal semiotic meaning, so much so that it requires new methods and ideas to be analyzed. The main example of etherogeneist approach to perception in semiotic literature, Umberto Eco’s “primary semiosis” is then presented, critically examined and eventually rejected and the homogeneist stance is affirmed as the most promising path towards a semiotic theory of perception.

Testo e memoria tra semiotica e scienze cognitive: una situazione sperimentale intorno al ricordo di un film

The research project presented in this dissertation is about text and memory. The title of the work is "Text and memory between Semiotics and Cognitive Science: an experimental setting about remembering a movie". The object of the research is the relationship between texts or "textuality" - using a more general semiotic term - and memory. The goal is to analyze the link between those semiotic artifacts that a culture defines as autonomous meaningful objects - namely texts - and the cognitive performance of memory that allows to remember them. An active dialogue between Semiotics and Cognitive Science is the theoretical paradigm in which this research is set, the major intend is to establish a productive alignment between the "theory of text" developed in Semiotics and the "theory of memory" outlined in Cognitive Science. In particular the research is an attempt to study how human subjects remember and/or misremember a film, as a specific case study; in semiotics, films are “cinematographic texts”. The research is based on the production of a corpus of data gained through the qualitative method of interviewing. After an initial screening of a fulllength feature film each participant of the experiment has been interviewed twice, according to a pre-established set of questions. The first interview immediately after the screening: the subsequent, follow-up interview three months from screening. The purpose of this design is to elicit two types of recall from the participants. In order to conduce a comparative inquiry, three films have been used in the experimental setting. Each film has been watched by thirteen subjects, that have been interviewed twice. The corpus of data is then made by seventy-eight interviews. The present dissertation displays the results of the investigation of these interviews. It is divided into six main parts. Chapter one presents a theoretical framework about the two main issues: memory and text. The issue of the memory is introduced through many recherches drown up in the field of Cognitive Science and Neuroscience. It is developed, at the same time, a possible relationship with a semiotic approach. The theoretical debate about textuality, characterizing the field of Semiotics, is examined in the same chapter. Chapter two deals with methodology, showing the process of definition of the whole method used for production of the corpus of data. The interview is explored in detail: how it is born, what are the expected results, what are the main underlying hypothesis. In Chapter three the investigation of the answers given by the spectators starts. It is examined the phenomenon of the outstanding details of the process of remembering, trying to define them in a semiotic way. Moreover there is an investigation of the most remembered scenes in the movie. Chapter four considers how the spectators deal with the whole narrative. At the same time it is examined what they think about the global meaning of the film. Chapter five is about affects. It tries to define the role of emotions in the process of comprehension and remembering. Chapter six presents a study of how the spectators account for a single scene of the movie. The complete work offers a broad perspective about the semiotic issue of textuality, using both a semiotic competence and a cognitive one. At the same time it presents a new outlook on the issue of memory, opening several direction of research.

Letteratura postmoderna e comunicazione pubblicitaria, problemi teorici e analisi testuali

Premise: In the literary works of our anthropological and cultural imagination, the various languages and the different discursive practices are not necessarily quoted, expressly alluded to or declared through clear expressive mechanisms; instead, they rather constitute a substratum, a background, now consolidated, which with irony and intertextuality shines through the thematic and formal elements of each text. The various contaminations, hybridizations and promptings that we find in the expressive forms, the rhetorical procedures and the linguistic and thematic choices of post-modern literary texts are shaped as fluid and familiar categories. Exchanges and passages are no longer only allowed but also inevitable; the post-modern imagination is made up of an agglomeration of discourses that are no longer really separable, built up from texts that blend and quote one another, composing, each with its own specificities, the great family of the cultural products of our social scenario. A literary work, therefore, is not only a whole phenomenon, delimited hic et nunc by a beginning and an ending, but is a fragment of that complex, dense and boundless network that is given by the continual interrelations between human forms of communication and symbolization. The research hypothesis: A vision is delineated of comparative literature as a discipline attentive to the social contexts in which texts take shape and move and to the media-type consistency that literary phenomena inevitably take on. Hence literature is seen as an open systematicity that chooses to be contaminated by other languages and other discursive practices of an imagination that is more than ever polymorphic and irregular. Inside this interpretative framework the aim is to focus the analysis on the relationship that postmodern literature establishes with advertising discourse. On one side post-modern literature is inserted in the world of communication, loudly asserting the blending and reciprocal contamination of literary modes with media ones, absorbing their languages and signification practices, translating them now into thematic nuclei, motifs and sub-motifs and now into formal expedients and new narrative choices; on the other side advertising is chosen as a signification practice of the media universe, which since the 1960s has actively contributed to shaping the dynamics of our socio-cultural scenarios, in terms which are just as important as those of other discursive practices. Advertising has always been a form of communication and symbolization that draws on the collective imagination – myths, actors and values – turning them into specific narrative programs for its own texts. Hence the aim is to interpret and analyze this relationship both from a strictly thematic perspective – and therefore trying to understand what literature speaks about when it speaks about advertising, and seeking advertising quotations in post-modern fiction – and from a formal perspective, with a search for parallels and discordances between the rhetorical procedures, the languages and the verifiable stylistic choices in the texts of the two different signification practices. The analysis method chosen, for the purpose of constructive multiplication of the perspectives, aims to approach the analytical processes of semiotics, applying, when possible, the instruments of the latter, in order to highlight the thematic and formal relationships between literature and advertising. The corpus: The corpus of the literary texts is made up of various novels and, although attention is focused on the post-modern period, there will also be ineludible quotations from essential authors that with their works prompted various reflections: H. De Balzac, Zola, Fitzgerald, Joyce, Calvino, etc… However, the analysis focuses the corpus on three authors: Don DeLillo, Martin Amis and Aldo Nove, and in particular the followings novels: “Americana” (1971) and “Underworld” (1999) by Don DeLillo, “Money” (1984) by Martin Amis and “Woobinda and other stories without a happy ending” (1996) and “Superwoobinda” (1998) by Aldo Nove. The corpus selection is restricted to these novels for two fundamental reasons: 1. assuming parameters of spatio-temporal evaluation, the texts are representative of different socio-cultural contexts and collective imaginations (from the masterly glimpses of American life by DeLillo, to the examples of contemporary Italian life by Nove, down to the English imagination of Amis) and of different historical moments (the 1970s of DeLillo’s Americana, the 1980s of Amis, down to the 1990s of Nove, decades often used as criteria of division of postmodernism into phases); 2. adopting a perspective of strictly thematic analysis, as mentioned in the research hypothesis, the variations and the constants in the novels (thematic nuclei, topoi, images and narrative developments) frequently speak of advertising and inside the narrative plot they affirm various expressions and realizations of it: value ones, thematic ones, textual ones, urban ones, etc… In these novels the themes and the processes of signification of advertising discourse pervade time, space and the relationships that the narrator character builds around him. We are looking at “particle-characters” whose endless facets attest the influence and contamination of advertising in a large part of the narrative developments of the plot: on everyday life, on the processes of acquisition and encoding of the reality, on ideological and cultural baggage, on the relationships and interchanges with the other characters, etc… Often the characters are victims of the implacable consequentiality of the advertising mechanism, since the latter gets the upper hand over the usual processes of communication, which are overwhelmed by it, wittingly or unwittingly (for example: disturbing openings in which the protagonist kills his or her parents on the basis of a spot, former advertisers that live life codifying it through the commercial mechanisms of products, sons and daughters of advertisers that as children instead of playing outside for whole nights saw tapes of spots.) Hence the analysis arises from the text and aims to show how much the developments and the narrative plots of the novels encode, elaborate and recount the myths, the values and the narrative programs of advertising discourse, transforming them into novel components in their own right. And also starting from the text a socio-cultural reference context is delineated, a collective imagination that is different, now geographically, now historically, and from comparison between them the aim is to deduce the constants, the similarities and the variations in the relationship between literature and advertising.

Il teatro e Derek Walcott. Prospettive postcoloniali e multiculturali

This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.

Creazione e sviluppo di corpora multimediali. Nuove metodologie di ricerca nella traduzione audiovisiva

The construction and use of multimedia corpora has been advocated for a while in the literature as one of the expected future application fields of Corpus Linguistics. This research project represents a pioneering experience aimed at applying a data-driven methodology to the study of the field of AVT, similarly to what has been done in the last few decades in the macro-field of Translation Studies. This research was based on the experience of Forlixt 1, the Forlì Corpus of Screen Translation, developed at the University of Bologna’s Department of Interdisciplinary Studies in Translation, Languages and Culture. As a matter of fact, in order to quantify strategies of linguistic transfer of an AV product, we need to take into consideration not only the linguistic aspect of such a product but all the meaning-making resources deployed in the filmic text. Provided that one major benefit of Forlixt 1 is the combination of audiovisual and textual data, this corpus allows the user to access primary data for scientific investigation, and thus no longer rely on pre-processed material such as traditional annotated transcriptions. Based on this rationale, the first chapter of the thesis sets out to illustrate the state of the art of research in the disciplinary fields involved. The primary objective was to underline the main repercussions on multimedia texts resulting from the interaction of a double support, audio and video, and, accordingly, on procedures, means, and methods adopted in their translation. By drawing on previous research in semiotics and film studies, the relevant codes at work in visual and acoustic channels were outlined. Subsequently, we concentrated on the analysis of the verbal component and on the peculiar characteristics of filmic orality as opposed to spontaneous dialogic production. In the second part, an overview of the main AVT modalities was presented (dubbing, voice-over, interlinguistic and intra-linguistic subtitling, audio-description, etc.) in order to define the different technologies, processes and professional qualifications that this umbrella term presently includes. The second chapter focuses diachronically on various theories’ contribution to the application of Corpus Linguistics’ methods and tools to the field of Translation Studies (i.e. Descriptive Translation Studies, Polysystem Theory). In particular, we discussed how the use of corpora can favourably help reduce the gap existing between qualitative and quantitative approaches. Subsequently, we reviewed the tools traditionally employed by Corpus Linguistics in regard to the construction of traditional “written language” corpora, to assess whether and how they can be adapted to meet the needs of multimedia corpora. In particular, we reviewed existing speech and spoken corpora, as well as multimedia corpora specifically designed to investigate Translation. The third chapter reviews Forlixt 1's main developing steps, from a technical (IT design principles, data query functions) and methodological point of view, by laying down extensive scientific foundations for the annotation methods adopted, which presently encompass categories of pragmatic, sociolinguistic, linguacultural and semiotic nature. Finally, we described the main query tools (free search, guided search, advanced search and combined search) and the main intended uses of the database in a pedagogical perspective. The fourth chapter lists specific compilation criteria retained, as well as statistics of the two sub-corpora, by presenting data broken down by language pair (French-Italian and German-Italian) and genre (cinema’s comedies, television’s soapoperas and crime series). Next, we concentrated on the discussion of the results obtained from the analysis of summary tables reporting the frequency of categories applied to the French-Italian sub-corpus. The detailed observation of the distribution of categories identified in the original and dubbed corpus allowed us to empirically confirm some of the theories put forward in the literature and notably concerning the nature of the filmic text, the dubbing process and Italian dubbed language’s features. This was possible by looking into some of the most problematic aspects, like the rendering of socio-linguistic variation. The corpus equally allowed us to consider so far neglected aspects, such as pragmatic, prosodic, kinetic, facial, and semiotic elements, and their combination. At the end of this first exploration, some specific observations concerning possible macrotranslation trends were made for each type of sub-genre considered (cinematic and TV genre). On the grounds of this first quantitative investigation, the fifth chapter intended to further examine data, by applying ad hoc models of analysis. Given the virtually infinite number of combinations of categories adopted, and of the latter with searchable textual units, three possible qualitative and quantitative methods were designed, each of which was to concentrate on a particular translation dimension of the filmic text. The first one was the cultural dimension, which specifically focused on the rendering of selected cultural references and on the investigation of recurrent translation choices and strategies justified on the basis of the occurrence of specific clusters of categories. The second analysis was conducted on the linguistic dimension by exploring the occurrence of phrasal verbs in the Italian dubbed corpus and by ascertaining the influence on the adoption of related translation strategies of possible semiotic traits, such as gestures and facial expressions. Finally, the main aim of the third study was to verify whether, under which circumstances, and through which modality, graphic and iconic elements were translated into Italian from an original corpus of both German and French films. After having reviewed the main translation techniques at work, an exhaustive account of possible causes for their non-translation was equally provided. By way of conclusion, the discussion of results obtained from the distribution of annotation categories on the French-Italian corpus, as well as the application of specific models of analysis allowed us to underline possible advantages and drawbacks related to the adoption of a corpus-based approach to AVT studies. Even though possible updating and improvement were proposed in order to help solve some of the problems identified, it is argued that the added value of Forlixt 1 lies ultimately in having created a valuable instrument, allowing to carry out empirically-sound contrastive studies that may be usefully replicated on different language pairs and several types of multimedia texts. Furthermore, multimedia corpora can also play a crucial role in L2 and translation teaching, two disciplines in which their use still lacks systematic investigation.

Child Abuse: il ruolo del medico legale nell'assistenza, nella prevenzione e nella preparazione di linee guida

Con questo mio lavoro di tesi ho voluto esplorare il fenomeno del maltrattamento e dell’abuso sui minori delineandone, sulla base della letteratura scientifica nazionale ed internazionale, gli aspetti clinici, epidemiologici ed i fattori di rischio. Un breve excursus giuridico illustrerà, poi, gli articoli di legge relativi alla tutela dei minori; in particolare, ci si soffermerà ad illustrare quegli articoli che normano i doveri dei sanitari nei confronti dell’autorità giudiziaria nel caso si sospetti un abuso su minori. La conoscenza della semeiotica dell’abuso, il suo riconoscimento all’interno di una diagnostica differenziale clinico-forense, la corretta repertazione e la consapevolezza che, un approccio autenticamente tutelante verso la vittima, deve sempre realizzarsi all’interno di una cornice giuridica fanno si che, il ruolo della medicina legale, competente in tutti questi ambiti, diventi senza ombra di dubbio “primum inter pares” all’interno dei team multidisciplinari ed interistituzionali che si occupano di minori vitti. Il gruppo scientifico in cui sono stata inserita e con cui si è proceduto alla redazione del manuale è il Gruppo di lavoro per l’abuso e il maltrattamento dell’infanzia coordinato dalla dott.ssa Maria Rosa Giolito ed ha coinvolto professionisti italiani afferenti a tre differenti aree sanitarie: quella ginecologica, quella medico-legale e quella pediatrica. Il testo elaborato è stato immaginato come un aiuto ai professionisti medici che si trovano a valutare un soggetto prepubere con sospetto di abuso sessuale. Non costituisce una linea-guida per la diagnosi di abuso sessuale, ma definisce alcuni requisiti essenziali e diffonde alcune conoscenze per evitare errori che possano ripercuotersi negativamente sulla valutazione clinica e sull’eventuale conseguente iter giudiziario.

La narrazione spettacolare. Nuove forme dello storytelling: dai testi narrativi al teatro.

Il lavoro di tesi parte da un presupposto di osservazione empirica. Dopo aver rilevato la ricorrenza da parte di registi teatrali del panorama internazionale all’adattamento di testi non drammatici, ma narrativi per la scena, si è deciso di indagare come la natura narrativa dei testi di partenza si adatti, permanga o muti nel passaggio dal medium narrativo a quello spettacolare. La tesi si suddivide in tre parti. Nella parte intitolata “Della metodologia” (un capitolo), viene illustrato il metodo adottato per affrontare l’analisi degli spettacoli teatrali. Facendo riferimento alla disciplina semiotica teatrale, si è definito l’oggetto empirico di studio come testo spettacolare/performance text. La seconda parte della tesi, “Della comparazione dei modelli comunicativi”, (due capitoli), procede nella definizione: 1) dell’elemento teorico da indagare nei testi spettacolari, ovvero, la “narratività”; 2) dei modelli comunicativi della narrazione e dello spettacolo teatrale e delle loro intersezioni o differenze. Nella terza parte della tesi, “Della critica”, (due capitoli), vengono analizzate alcune delle opere del regista Jurij Ljubimov (Russia), Eimuntas Nekrošius (Lituania), Alvis Hermanis (Lettonia). La scelta è ricaduta sulle opere di questi registi in base a una considerazione: 1) culturale: si è deliberatamente circoscritta la sfera di indagine alla produzione teatrale russa e post-sovietica; 2) estetica: è stato osservato che la linea registica inaugurata da Jurij Ljubimov va permeando l’attività registica di registi più giovani come Nekrošius e Hermanis; 3) statistica: Ljubimov, Nekrošius, Hermanis hanno scelto di mettere in scena testi non drammatici con una elevata frequenza. La tesi è corredata da un’ampia appendice iconografica. Per l’analisi dei testi spettacolari si è fatto riferimento alla visione degli spettacoli in presa diretta in Italia e all’estero.