Communication and meaning: the material in the fine arts
Abstract (Summary)This study is based on the presumption that the production, circulation and grasp of meaning should be the ultimate purpose of any communication theory that is able to conceive both the ?individual? and the ?social? as mutually built from exchanges of meanings where both aspects are involved with each other. It takes as its corpus a group of paintings and sculptures ? understood here as both communicative and artistic objects ? which can be studied from the various ways they produce meaning. Based on the Discursive Semiotics, this study tries to first identify in these objects the existence of a material dimension and second point to the categories that compose this dimension and the ways they work in the production of meaning in relation to the formal, chromatic and topological dimensions that are also part of these objects. The study off the material dimension is justifiable because it attends to the needs Semiotics has to broaden its methodological resources for the study of the meaning in the sensory phenomena. This specific object of study had been identified in the researches in Semiotics since Sémantique Structurale by A.J. Greimas and it has acquired greater imporance since De l?imperfection, last work by this author and one of the most important references of this study. In the path open by Greimas, the researches by Jean-Marie Floch and Ana Claudia Oliveira about objects whose meaning depends on their plastic organization and the work by Eric Landowski about sensory meaning ? meaning whose peculiarity is ? to be sensed? ? complete the picture of the main references in this study. The objects of art chosen for this study are by the contemporary brazilian artists C. Carvalhosa e V. Muniz. The choice for these objects can be explained by the fact that none of them are representative and they are made of a diversity of materials that are not conventional and whose organization, in each case, depends on some of the material categories. Nevertheless, the analyses have their origin in the study of a painting from the 16th century, which is very different from the works mentioned above, in which one can recognize the central and monocular perspective organization. In the study of this work, one of the ways in which the material produces meaning in a representative object was verified. Far from exhausting the subject, this study shows, in the studied works, some of the constitutive categories of the material.
Source Type:Master's Thesis
Keywords:discursive semiotics fine arts
Date of Publication:06/14/2005