SEMIOTICA APLICADA LUCIA SANTAELLA PDF
aplicada - cittadelmonte.infoess - pdf semiotica para principiantes maria luciana uma semiótica da alegria do livro semiótica aplicada de lucia santaella e. A los profesores Anna Caroline Regner, Lucia Santaella, Nédio Seminotti y Tânia Sperb por el tiempo semiótica podem ser aplicadas à área clínica, educacional, ou de cittadelmonte.info on July 25, Lucia Santaella.. ABSTRACT. The future plurality of discursive genres was emphasized by Bakhtin. For him, the. discursive genres tend to grow as the spheres.
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Books by Lucia Santaella · O que é semiótica · Semiótica aplicada · Navegar no ciberespaço · Culturas e Artes do Pós-Humano - Da Cultura das Mídias à. Download as PPTX, PDF, TXT or read online from Scribd. Flag for inappropriate content . 3 - Resumo Semiótica Aplicada - Lucia Santaella cap Uploaded by. Santaella L., (), Semiótica Aplicada. Lucia Santaella, «Peirce's Reception in Brazil», European Journal of Pragmatism and American Philosophy [En.
Skip to main content. Log In Sign Up. Wuthering Heights on the Screen: Exploring the Relations between Film Adaptation and Subtitling. Sara Cerqueira Pascoal.
Atom Egyoyan Introduction By confronting film adaptation with subtitling, we aim to see not only the text behind the image but the text and image behind the subtitles.
Although these issues are the backdrop of this study, they function as guidelines instead of as questions to be answered.
In order to narrow our field of analysis, we have chosen for the purpose of this study an excerpt of the novel that we found to be representative of its literary and symbolic potential, and which is seen as contextually significant in terms of plot.
Since the film adaptations present particular features, each version is read and dealt with from different perspectives. Though it might seem a futile task, if not an impossible one, to determine the extent to which an adaptation of a literary text might influence subtitles, we believe our hypothesis might nonetheless shed some light on a fundamental issue screen translation studies must soon face, lest it should stop growing and evolving as a scientific discipline.
This issue pertains directly to the problem of intersemiotic translation and verbal translation and how these two modes must somehow meet. Following a brief overview of Portuguese subtitling standards, the last section will concern the subtitles in terms of transformations as brought on by linguistic and extra-linguistic factors. During the 20th century, when moral considerations were no longer a criteria in literary review, the novel was the object of diversified analysis and criticism that interpreted it from different viewpoints: Interestingly enough, the basic elements of the plot are quite common-place and straightforward: The scene analyzed was taken from chapter 9, and at a critical point in the narrative when Cathy agrees to marry Edgar and abandon the Heights.
He then leaves, she gets sick and, with him out of the way, Cathy is taken to Thrushcross Grange.
Semiosis and intersemiotic translation4 Cinema, like any other art, because art ultimately has to do with choice, is the art of the ellipsis And we may add: A novel like Wuthering Heights, if translated onto the screen in its entirety, would occupy multiple reels of film and take more than a few days to watch. On the other hand, it would also make for a bad movie — and an unsaleable one.
To adapt a novel to the screen does not mean to simply transform literary images into visual ones. Verbal language involves both the semiotic and semantic modes, for signs are recognized and the enunciation is understood, while music as well as the plastic arts only involves the semantic mode Benveniste Both cinematic and verbal language partake of both modes, and this reveals the great potential of film.
Cinematic images are metaphorical, in the sense that they are analogical representations of reality, but they are also metonymic, because their meaning depends on the syntagmatic relations that hold them together. In moving images connotation goes hand in hand with denotation: From this we may conclude that film and literature have many common features5 and that signs generate interpretants generating signs generating interpretants.
Accordingly, at this stage the shots are analyzed from a qualitative- iconic and singular-indicative point of view Santaella I suffered. She stands at a distance, ready for action.
These frames, as tokens of the moving image, are representative of the different filmic, cultural and linguistic codes.
They can also be defined as affection-images, all of them leaning toward the close-up shot Deleuze: In effect, it is in the and examples where: What remains to be seen is whether their characterization as affection-images will bear upon subtitle creation.
Beginning with section 2.
Set in the late 30s of the 19th century, the film depicts an ambience, characters, and a plot only vaguely resembling those of the novel to the learned viewer, and, as we see it, dislocates the drama to a different geographic and temporal context without specifically stating it is doing so. The house and surrounding areas evoke an American ranch rather than the Yorkshire moors, and the Grange is a typical stately American mansion. Cathy and Heathcliff are in their thirties.
Even Edgar Linton is stripped of the trait of weakness that characterizes him in the novel. In fact, instead of an adolescent Cathy, strong-headed and whimsy, toying around with her two friends to get the best of the civilized and the natural worlds, the film presents a woman torn between the wills of two men6.
Socialization is clearly preferred to the predominance of the natural world. Cathy repeatedly asks Heathcliff to become rich and civilized, to rise socially and thus make it possible for her to choose him.
The landscape is reduced to a rocky spot where the couple meets. He hides in the kitchen, and the two women go in the parlour to talk. At first she seems happy whereas in the novel she is agitated.
Her love for Heathcliff is depicted in a dramatic tone leading us to believe that she has decided she cannot marry Edgar. Therefore, we can say that even with the same characters and the same location there are significant differences between the two scenes: Curiously enough, she is also pregnant with his child.
O Mapa do Jogo A diversidade cultural dos games
Still, as we can see from the transcription of the dialogue, it is where Catalina clearly reveals her unyielding passion for Alejandro, just as she does in the novel: It would degrade me He sido una buena esposa, voy a darle un hijo. My love for Heathcliff Yo no lo he odiado nunca.
Nelly, I am Heathcliff! He's always, unos mendigos! Llevas el demonio metido en el cuerpo. The situation is adapted to the different circumstances at hand: Yet there are similarities: It might be surprising to find this movie in his filmography but upon a closer look it seems only just.
This adaptation of Wuthering Heights might be the most realistic, but in no way does it put aside the poetic-symbolic aspects so pervasive in the novel. Although the film is not shot in black and white, its color palette is anchored in soft hues with grayish undertones, emphasizing visual aspects which would otherwise go unnoticed. The scene takes place in the kitchen where Nelly and Cathy meet and a short conversation ensues.
Just as in the novel Heathcliff listens in. But there are several differences in relation to the novel: She is disturbed only when she finds out Heathcliff heard her and has run away.
It is in the outside scene, which in the novel happens much later, that she conveys her true feelings for Heathcliff. As for the dialogues, the source text is adapted to accommodate the significance of extra-linguistic and paralinguistic elements, but the underlined ideas are maintained and at times expanded: I've no more business to marry Edgar Linton than Nobody could marry Heathcliff.
I have to be in heaven; and if the wicked man in I mean, he's a wild animal. It would degrade me go? What would we do? My love for Linton is like the foliage in the Of course. My love for Heathcliff l know he loves me, resembles the eternal rocks beneath: Nelly, I am And l love him, too, but differently.
He's always, always in my mind: He's my only reason for living. Balthus, a surrealist painter, produced a number of drawings for an edition that Gallimard intended to publish in Rivette transposes the plot to another country and also to another century; the action now takes place in , again probably because of Balthus.
Obviously, the aim is to emphasize the oneirism underlying an adaptation clearly influenced by surrealism. Dreams, psyche, Eros and Evil are constantly omnipresent in Hurlevent, following a trend of interpretation sustained by a great number of critics.
Rivette introduces three dream sequences: Nonsense; I do -- that's sufficient. By no means; you must say why.
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Ah, bon! Well, because he is handsome and Quelle question! Pas du tout! Il faut dire pourquoi. And because he is young and cheerful. Bad still.
LMUSI 2871 - Presentation
And because he loves me. Mauvais Figure 2 2. The contrast between the two houses — the Heights and the Grange — and between interior and exterior planes adds on to this impression.
The landscape of the moors is filmed several times and during several minutes.
The image is granted an important place in the narrative, which is not uncommon in modern cinema. In their thirties; dark hair, Cathy: Wuthering skinned, blue Heights. Words Become Visible: Subtitling Wuthering Heights10 Film dialogues can never compare to dialogues in a book. But there is something magical about seeing words on the screen, as testified by Atom Egyoyan when thinking back on his role as movie-goer: I was much more forgiving of words that were imposed on a screen that displayed a gorgeous black and white cinemascope scene, than if those same words had come out of a mouth whose language I understood.
Many important and relevant studies have come about in the last few years concerning subtitling standards, norms, practices and strategies, especially from a linguistic standpoint. There are however a few guidelines that seem to be common to Portuguese subtitling practice s. One rule is that a complete utterance must always include a punctuation mark, regardless of it being at the end of a subtitle.
Graphically they are always white on a transparent background, usually using the arial or helvetica font. In general, Portuguese subtitles attempt a communicative stance, but not always successfully.
Even though the movie dialogues transcribe some of the most famous or climactic lines of the literary text, there are omissions and alterations that reflect the change in the characters pointed to earlier The subtitling of the version of Wuthering Heights was done by a recent graduate with a degree in Translation and Interpreting, instructed to subtitle the scene in question for purposes of an academic study. She was told that the film was an adaptation of a famous novel, but not asked to carry out any reading or research on the subject.
She was also not briefed on the context of either text.
Condensation and elimination are practically absent from the translated text13, and the overall result is a fairly literal target text The recourse to archaic vocabulary and structures was noted in some of the lines, but we were unable to conclude if it derived from any preoccupation in reflecting the literary text or simply from an attempt to recreate the speech of characters from the past On the other hand, modern usage of language was also noted in several subtitles Film Dialogues Subtitles Our Comments It would be heaven to escape Seria divinal fugir deste Translation only conveys from this disorderly, lugar desordenado e sense of out of order, comfortless place.
Figure 4 3. Against this backdrop, dialogues gain a life that is not their own. When transposed to the written mode, they jump off the screen interspersed with meaningful silences. This Center was born to join researchers and students interested in classical and contemporary pragmatism. The Center has encouraged mainly three lines of research, namely, pragmatism and logic, pragmatism and ethics, and aesthetics and pragmatism. Studies around these lines have been the topics for theses and dissertations at the postgraduate program in philosophy that houses the CEP.
From this date on, these meetings became annual, and in they turned into the International Meeting on Pragmatism EIP , when the event was expanded to count on the presence of foreign researchers in the area. This journal intends to publish papers in the area and has published along the years the contributions coming from the lectures of the International Meetings.
Cognitio highlights the Center with its two annual volumes, and has obtained excellent national and international repercussion. Beyond this, CEP also edits the online magazine on Cognitio-studies which aims to publish articles of young researchers, graduate and postgraduate students. CEP plans to maintain and let all these activities grow, along with an intensive exchange with other international research centers, taking its own approach of pragmatism, deeply committed to a dialogue with the tradition of the history of philosophy.
Ibri I. Octanny S. XXXVI, trad. Abril Cultural. Queiroz J.
Santaella L. Silveira L. Author retains copyright and grants the European Journal of Pragmatism and American Philosophy right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.
The Reception of Peirce in the World. Lucia Santaella.
Plan 1. The First Seeds. The Postgraduate Program in Comunication and Semiotics. The International Center for Peirce Studies. The Center for Studies in Pragmatism. The First Seeds 1 A number of scholars of international reputation visited Brazil at the end of the s to give lectures and seminars.
Bibliographie Ibri I.