Aproximaciones semióticas a El Pozo, de Juan Carlos Onetti

Los particulares y complejos procesos de modernización iniciados en el siglo XIX y profundizados en el siglo XX por países como Argentina y Uruguay conformaron una escena cultural que los escritores de la ciudad intentan describir con un nuevo lenguaje. Estos procesos se dan, a su vez, inmersos en una crisis económica, política y moral mundial cuyos emergentes son los grandes conflictos bélicos y que pone en cuestión el tema de la racionalidad moderna. En esta sociosfera, Juan Carlos Onetti irrumpe con "El pozo", uno de los textos inaugurales de la nueva narrativa latinoamericana. En él, la forma narrativa elegida (enmarcada en la tradición epistolar), los espacios descriptos, el tratamiento del tiempo, la temática de la marginalidad confluyen para mostrarnos la otra cara de nuestra modernidad: los monstruos que engendran los sueños de la razón. Por ello, en nuestra propuesta de lectura, que no deconoce las relaciones del discurso imaginario con su contexto histórico y social, ubicamos a "El pozo" como un texto "de frontera", estos es, según Lotman, un texto permeable que traduce las realidades de la periferia semiótica percibidas como caóticas desde el núcleo. La literatura de Onetti, transgresora en todos sus niveles, al codificar aquellas realidades cuestiona el núcleo semiótico dándole nuevos sentidos.

José Amícola, De la forma a la información. Bajtín y Lotman en el debate con el formalismo ruso. Buenos Aires, Beatriz Viterbo Editora y Orbis Tertius, Publicación especial de Orbis Tertius Nº 2, 1997, 255 págs.

Fil: Dalmaroni, Miguel Angel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

José Amícola, De la forma a la información. Bajtín y Lotman en el debate con el formalismo ruso. Buenos Aires, Beatriz Viterbo Editora y Orbis Tertius, Publicación especial de Orbis Tertius Nº 2, 1997, 255 págs.

Fil: Dalmaroni, Miguel Angel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

José Amícola, De la forma a la información. Bajtín y Lotman en el debate con el formalismo ruso. Buenos Aires, Beatriz Viterbo Editora y Orbis Tertius, Publicación especial de Orbis Tertius Nº 2, 1997, 255 págs.

Fil: Dalmaroni, Miguel Angel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

"Four Ways of Writing the City" : St. Petersburg-Leningrad as a Metaphor in the Poetry of Joseph Brodsky

The present study discusses the theme of St. Petersburg-Leningrad in Joseph Brodsky's verse works. The chosen approach to the evolving im-age of the city in Brodsky's poetry is through four metaphors: St. Petersburg as "the common place" of the Petersburg Text, St. Petersburg as "Paradise and/or Hell", St. Petersburg as "a Utopian City" and St. Petersburg as "a Void". This examination of the city-image focusses on the aspects of space and time as basic categories underlying the poet's poetic world view. The method used is close reading, with an emphasis on semantical interpretation. The material consists of eighteen poems dating from 1958 to 1994. Apart from investigating the spatio-temporal features, the study focusses on exposing and analysing the allusions in the scrutinised works to other texts from Russian and Western belles lettres. Terminology (introduced by Bakhtin and Yury Lotman, among others) concerning the poetics of space in literature is employed in the present study. Conceptions originating from the paradigm of possible worlds are also used in elucidating the position of fictional and actual chronotopes and heroes in Brodsky's poetry. Brodsky's image of his native city is imbued with intertextual linkings. Through reminiscences of the "Divine Comedy" and Russian modernists, the city is paralleled with Dante's "lost and accursed" Florence, as well as with the lost St. Petersburg of Mandel'shtam and Akhmatova. His city-image is related to the Petersburg myth in Russian literature through their common themes of death and separation as well as through the merging of actual realia with the fictional worlds of the Petersburg Text. In his later poems, when his view of the city is that of an exiled poet, the city begins to lose its actual world referents, turning into a mental realm which is no longer connected to any particular geographical location or historical time. It is placed outside time. The native city as the homeland in its entirety is replaced by another existence created in language.

From Iron Horse to Rauta-airot - a Semiotic View on the Domestication of Metaphors in Literary Translation

The thesis concentrates on two questions: the translation of metaphors in literary texts, and the use of semiotic models and tools in translation studies. The aim of the thesis is to present a semiotic, text based model designed to ease the translation of metaphors and to analyze translated metaphors. In the translation of metaphors I will concentrate on the central problem of metaphor translations: in addition to its denotation and connotation, a single metaphor may contain numerous culture or genre specific meanings. How can a translator ensure the translation of all meanings relevant to the text as a whole? I will approach the question from two directions. Umberto Eco's holistic text analysis model provides an opportunity to concentrate on the problematic nature of metaphor translation from the level of a text as a specific entity, while George Lakoff's and Mark Johnson's metaphor research makes it possible to approach the question from the level of individual metaphors. On the semiotic side, the model utilizes Eero Tarasti's existential semiotics supported by Algirdas Greimas' actant model and Yuri Lotman's theory of cultural semiotics. In the model introduced in the thesis, individual texts are deconstructed through Eco's model into elements. The textual roles and features of these elements are distilled further through Tarasti's model into their coexistent meaning levels. The priorization and analysis of these meaning levels provide an opportunity to consider the contents and significance of specific metaphors in relation to the needs of the text as a whole. As example texts, I will use Motörhead's hard rock classic Iron Horse/Born to Lose and its translation into Rauta-airot by Viikate. I will use the introduced model to analyze the metaphors in the source and target texts, and to consider the transfer of culture specific elements between the languages and cultural borders. In addition, I will use the analysis process to examine the validity of the model introduced in the thesis.

Hautamuistomerkki elämän ja kuoleman tulkitsijana : Heikki Häiväojan, Kain Tapperin ja Matti Peltokankaan tekemät hautamuistomerkit 1952-2002

Grave sculpture as interpreter of life and death. Grave sculptures done by Heikki Häiväoja, Kain Tapper and Matti Peltokangas 1952-2002. The thoughts of Philippe Ariès and Erwin Panofsky on western funeral art constitute the starting point of this study. These scholars speak about the 20th century as a period of decline regarding western funeral art. The reason for this situation lies, according to them, in the fact that death has been rejected and become a private affair in modern society. Especially Panofsky sees an important reason for the decay of funeral art also in the separation of death from religion. In this study, I approach the view of Ariès and Panofsky from the angle of Finnish funeral art. The subject of the study is grave sculptures of three Finnish sculptors: Heikki Häiväoja, Kain Tapper and Matti Peltokangas, from 1952 to 2002. (The analysis of the grave sculptures has been performed with the Iconology of Erwin Panofsky. The analysis has been deepened by the ideas of a graveyard as a semiotic text according to Werner Enninger and Christa Schwens. In order to confirm their argumentation, they analyse the graveyard text with the model of communicative functions of Roman Jakobson and verify that the graveyard is a cultural text according to Juri Lotman.) Results of the study In the grave sculptures of the sculptors, different worldviews appear alongside Christian thoughts indicating a new stage in the tradition of funeral art. In the grave sculptures characterised as Christian, the view of life after death is included. In these memorials the direction of life is prospective, pointing to the life beyond. Death is a border, beyond which one is unable to see. Nevertheless the border is open or marked by the cross. On this open border, death is absence of pain, glory and new unity. In memorials with different worldviews, the life beyond is a possibility which is not excluded. Memorials interpret life retrospectively; life is a precious memory which wakens grief and longing. Many memorials have metaphysical and mystic features. In spite of democratization the order and valuation of social classes appear in some memorials. The old order also materializes in the war memorials relating the same destiny of the deceased. Different burial places, nevertheless, do not indicate social inequality but are rather signs of diversity. The sculptors' abstract means of modern funeral art deepen the handling of the subject matter of death and reveal the mystery of it. Grave sculptures are a part of Finnish and sacral modern art, and there is an interaction between funeral art and modern art. Modern art acquires a new dimension, when grave sculptures become a part of its field. Grave sculptures offer an alternative to anonymous burying. The memorial is a sign of the end of life; it gives death significance and publicity and creates a relation to the past of the society. In this way, grave sculptures are a part of the chain of memory of the western funeral art, which extends throughout Antiquity until ancient Egypt. (In this study I have spoken of funeral art as a chain of memory using the thoughts of Danièle Hervieu-Léger.) There are no signs of decay in the grave sculptures, on the contrary the tradition of funeral art continues in them as a search for the meaning of life and death and as an intuitive interpretation of death. As such, grave sculptures are part of the Finnish discussion of death.

Forma y transgresión: el discurso del arte

El arte, en sus diferentes campos, desarrolla un tipo de discurso que nada tiene que ver con el de otros ámbitos. Se vale de combinaciones de elementos diversos, normalmente pertenecientes a lenguajes convencionales, para elaborar un enunciado único y nuevo, donde una idea encuentra finalmente su forma. El contenido y la estructura se fusionan en un punto indisoluble. En este artículo se plantean las búsquedas de paradigmas clásicos de la forma artística y una reflexión al respecto desde el ámbito de las Artes Visuales. Se parte de la consideración que durante muchos siglos se tenía de la representación o imitación de la realidad no solo como vehículo de la expresión sino como la finalidad del arte. Se continua por el foco que la Transgresión de Dadá estableció en aquellas formas artísticas que buscan una conmoción emocional para que la creación alcance los territorios íntimos del receptor. Por último, se explica el fundamental hallazgo de Duchamp de señalar que es el propio discurso de la obra el que proporciona un nuevo pensamiento al mundo.

La poética de Hugo Jamioy Juagibioy en danzantes del viento / binybeoboyejuayeng: poesía indígena contemporánea

Considerando que el texto artístico, en este caso Bínÿbeoboyejuayëng (Danzantes del viento) del poeta camëntsá de Colombia, Hugo Jamioy Juagibioy, es un producto cultural, un hecho semiótico, a decir de Lotman, que informa y comunica, que está estructurado por varios códigos que se interseccionan entre sí, mi posición como interlocutora, supone dialogar con su poética desde una historia común de violencia frente a los pueblos indígenas, las mujeres y los pueblos no indígenas en América Latina; lo cual supone que existen puntos de encuentro histórico e intercultural que ensayaré entender y traducir; empero, como sabemos, ninguna traducción es exacta por la multiplicidad de códigos que convergen en el texto, en el receptor y en la audiencia, pese a la unicidad del texto y su carácter relativo. La policromía de la Madre Tierra aparece como un arco iris en los versos de Jamioy, belleza y diversidad que posee un movimiento propio y al mismo tiempo sujeto a otro sumamente hostil que los engloba y destruye. Belleza y diversidad de la que provenimos. La pregunta es cómo supervivir tanto los pueblos “indígenas” como los “no indígenas” en un entorno que invade y hace trizas la coexistencia de esa diversidad en armonía.

O design gráfico publicitário e as artes visuais: fronteiras e apropriações da arte pela publicidade

Dissertação apresentada ao Programa de Mestrado em Comunicação da Universidade Municipal de São Caetano do Sul - USCS

Espaço e erotismo em Presença de Anita, romance de Mário Donato

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Espaço e focalização em The ambassadors, de Henry James

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

In nome della comunità. Analisi dei testi della sicurezza e del terrorismo

The focus of this dissertation is the relationship between the necessity for protection and the construction of cultural identities. In particular, by cultural identities I mean the representation and construction of communities: national communities, religious communities or local communities. By protection I mean the need for individuals and groups to be reassured about dangers and risks. From an anthropological point of view, the relationship between the need for protection and the formation and construction of collective identities is driven by the defensive function of culture. This was recognized explicitly by Claude Lévi-Strauss and Jurij Lotman. To explore the “protective hypothesis,” it was especially useful to compare the immunitarian paradigm, proposed by Roberto Esposito, with a semiotic approach to the problem. According to Esposito, immunity traces borders, dividing Community from what should be kept outside: the enemies, dangers and chaos, and, in general, whatever is perceived to be a threat to collective and individual life. I recognized two dimensions in the concept of immunity. The first is the logic dimension: every element of a system makes sense because of the network of differential relations in which it is inscribed; the second dimension is the social praxis of division and definition of who. We are (or what is inside the border), and who They are (or what is, and must be kept, outside the border). I tested my hypothesis by analyzing two subject areas in particular: first, the security practices in London after 9/11 and 7/7; and, second, the Spiritual Guide of 9/11 suicide bombers. In both cases, one observes the construction of two entities: We and They. The difference between the two cases is their “model of the world”: in the London case, one finds the political paradigms of security as Sovereignty, Governamentality and Biopolitics. In the Spiritual Guide, one observes a religious model of the Community of God confronting the Community of Evil. From a semiotic point view, the problem is the origin of respective values, the origin of respective moral universes, and the construction of authority. In both cases, I found that emotional dynamics are crucial in the process of forming collective identities and in the process of motivating the involved subjects: specifically, the role of fear and terror is the primary factor, and represents the principal focus of my research.

Metamorfosi temporali e spaziali: dal “Revisore” di Nikolaj Gogol’ alla “Morte accidentale di un anarchico” di Dario Fo.

La tesi si propone di tracciare un confronto tra due autori molto distanti tra loro sia nel tempo che nello spazio: Nikolaj Gogol’ e Dario Fo; in particolare si analizzano le commedie Il Revisore di Gogol’ (1836) e Morte accidentale di un anarchico di Fo (1970). Il nesso tra le due opere è stato individuato dalla critica italiana (Franco Quadri, Ferdinando Taviani, Paolo Puppa). Tuttavia gli spunti interpretativi e comparativi non sono mai stati sviluppati appieno della critica. Nonostante le grandi distanze temporali e spaziali, l’analisi si propone dunque di evidenziare i numerosi motivi di consonanza tra le due opere e i due autori, che peraltro testimoniano anche della grande fortuna arrisa all’estero all’autore ucraino, attraverso la mediazione del teatro russo-sovietico del XX secolo. L’approccio metodologico adottato si fonda sui testi dei formalisti russi, di Lotman, sulla Stilkritik di Aurbach, sugli studi di Frye sulla Bibbia intesa come “grande canone” della letteratura occidentale, e soprattutto sull’analisi della cultura carnevalesca e popolare condotta da Bachtin. Lo studio è indirizzato su alcuni elementi precisi: la trama, lo scambio della personalità, l’impostura, la paura e il riso. Per ciascun di questi elementi è stata svolta l’analisi comparativa delle due opere, situandole in un contesto letterario e culturale che va all’antichità e al Medio Evo, dal quale entrambi gli autori mutuano molte suggestioni.