{"title":"Luxembourg","authors":"Marion Colas-Blaise, Gian Maria Tore","doi":"10.4000/signata.3405","DOIUrl":"https://doi.org/10.4000/signata.3405","url":null,"abstract":"","PeriodicalId":36048,"journal":{"name":"Signata","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72533426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay develops a comprehensive approach to the study of parallax effects in early modern images, with critical emphasis on painting. Parallax is the apparent displacement of an object relative to a given background, as caused by the movement of the observer. In the cosmological debate that accompanied the Copernican revolution, the apparent absence of stellar parallax was taken as decisive evidence against the hypothesis of the motion of the Earth. Surprisingly, the emergence of a parallax view in the early modern arts has not been considered in relation to this crucial scientific debate, and it is still largely understudied. In this context, this essay puts forward a twofold argument: first, it contends that the debate on stellar parallax informs, integrates, and transforms the theory of perspective in the late Renaissance; second, it argues that the parallax view sheds new light on the representation of movement in the Baroque visual culture. The semiotic model of uttered enunciation provides a methodological framework to study the inscription of a moving observer in images, and the question of the semiotic nature of mirrors finds here a new pertinence. This framework is developed with a focus on Giordano Bruno’s art of memory, where the parallax view enables a semiotic embrace of the movement of images. In painting, analysis focuses on Caravaggio’s Narcissus, where the observer is displaced to reflect the point of view of an image that appears motionless but sees itself as a moving image.
{"title":"Narcissus and the Moon: Parallax in Early Modern Images","authors":"Davide Messina","doi":"10.4000/SIGNATA.3211","DOIUrl":"https://doi.org/10.4000/SIGNATA.3211","url":null,"abstract":"This essay develops a comprehensive approach to the study of parallax effects in early modern images, with critical emphasis on painting. Parallax is the apparent displacement of an object relative to a given background, as caused by the movement of the observer. In the cosmological debate that accompanied the Copernican revolution, the apparent absence of stellar parallax was taken as decisive evidence against the hypothesis of the motion of the Earth. Surprisingly, the emergence of a parallax view in the early modern arts has not been considered in relation to this crucial scientific debate, and it is still largely understudied. In this context, this essay puts forward a twofold argument: first, it contends that the debate on stellar parallax informs, integrates, and transforms the theory of perspective in the late Renaissance; second, it argues that the parallax view sheds new light on the representation of movement in the Baroque visual culture. The semiotic model of uttered enunciation provides a methodological framework to study the inscription of a moving observer in images, and the question of the semiotic nature of mirrors finds here a new pertinence. This framework is developed with a focus on Giordano Bruno’s art of memory, where the parallax view enables a semiotic embrace of the movement of images. In painting, analysis focuses on Caravaggio’s Narcissus, where the observer is displaced to reflect the point of view of an image that appears motionless but sees itself as a moving image.","PeriodicalId":36048,"journal":{"name":"Signata","volume":"18 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72744854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’objectif principal de cette contribution est la presentation d’une serie d’instruments methodologiques pour realiser l’analyse des costumes au cinema. La premiere proposition concerne une exploration du potentiel heuristique de la semiotique du corps, elaboree par Jacques Fontanille, pour aborder la signification des vetements. Ensuite, on vise a eclaircir la position contradictoire du cinema par rapport a la mode ; d’une part, il profite des taxonomies vestimentaires et donc des conventions pour faciliter la comprehension de la distribution des roles entre les personnages du film ; d’autre part, il deconstruit les stereotypes de l’habillement a travers des reelaborations iconiques (lecture esthetique) ou des valorisations indiciaires (lecture symptomatologique) des costumes, lesquels deviennent enfin des operateurs discursifs tres importants dans l’economie d’une œuvre cinematographique. En particulier, on cherche a illustrer la fonction demarcative du costume, qui offre au spectateur une cle privilegiee pour comprendre les transformations narratives d’un personnage. En outre, le costume peut assumer un role figural et se positionner ainsi au centre d’une serie d’operations rhetoriques qui sollicitent inevitablement un intertexte. Cela nous invite a distinguer differentes perspectives d’integration des costumes aux formations discursives cinematographiques afin de saisir aussi leur thematisation en discours ou dans les pratiques qui accompagnent la jouissance et la distribution du film. L’article debouche enfin sur une reflexion plus generale sur l’apport du cinema a la comprehension des roles culturels du vetir.
{"title":"Habiller les personnages, revêtir la chair","authors":"Pierluigi Basso Fossali","doi":"10.4000/signata.2878","DOIUrl":"https://doi.org/10.4000/signata.2878","url":null,"abstract":"L’objectif principal de cette contribution est la presentation d’une serie d’instruments methodologiques pour realiser l’analyse des costumes au cinema. La premiere proposition concerne une exploration du potentiel heuristique de la semiotique du corps, elaboree par Jacques Fontanille, pour aborder la signification des vetements. Ensuite, on vise a eclaircir la position contradictoire du cinema par rapport a la mode ; d’une part, il profite des taxonomies vestimentaires et donc des conventions pour faciliter la comprehension de la distribution des roles entre les personnages du film ; d’autre part, il deconstruit les stereotypes de l’habillement a travers des reelaborations iconiques (lecture esthetique) ou des valorisations indiciaires (lecture symptomatologique) des costumes, lesquels deviennent enfin des operateurs discursifs tres importants dans l’economie d’une œuvre cinematographique. En particulier, on cherche a illustrer la fonction demarcative du costume, qui offre au spectateur une cle privilegiee pour comprendre les transformations narratives d’un personnage. En outre, le costume peut assumer un role figural et se positionner ainsi au centre d’une serie d’operations rhetoriques qui sollicitent inevitablement un intertexte. Cela nous invite a distinguer differentes perspectives d’integration des costumes aux formations discursives cinematographiques afin de saisir aussi leur thematisation en discours ou dans les pratiques qui accompagnent la jouissance et la distribution du film. L’article debouche enfin sur une reflexion plus generale sur l’apport du cinema a la comprehension des roles culturels du vetir.","PeriodicalId":36048,"journal":{"name":"Signata","volume":"128 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79034604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This work presents to dance and music scholarship the concept of competence, developed and deployed by Greimas, together with the semiotic concepts of counterpoint and harmony. I emphasize competence as a temporal process that requires sanction by an external entity and which corresponds to the level of surface narrative syntax within Greimas’s method of ‘generative trajectory’. To exemplify the application of the generative trajectory to dance, I present the case of the contrapunto de zapateo from Peru. In this step dance, two or more dancers take turns and perform for an audience who claps and cheers for them and upon whom depends the appreciation of their competence. To better account for the complex relations between all actors of the contrapunto, I resort to the concept of semiotic counterpoint, which is first explained by means of input–output boxes, inspired by black box modeling in engineering. Counterpoint is also represented using equations, especially to address memory/retention and prediction/protention, with a subsequent discussion of its relevance and articulation to Greimas’s semiotics. Finally, I complement counterpoint with Leibniz’s definition of harmony and Spinoza’s principle of maximization of action, in order to account for different kinds of fluent interactions between dancers, arguing for its application not only to the contrapunto de zapateo, but also to dances such as Capoeira, breakdancing, and contact improvisation.
这部作品向舞蹈和音乐学术提出了能力的概念，由格雷马斯发展和运用，以及对位和和声的符号学概念。我强调能力是一种需要外部实体认可的时间过程，它对应于Greimas的“生成轨迹”方法中的表面叙事句法水平。为了举例说明生成轨迹在舞蹈中的应用，我以秘鲁的contrapunto de zapateo为例。在这种踏步舞中，两个或两个以上的舞者轮流为观众表演，观众为他们鼓掌和欢呼，观众对他们能力的欣赏取决于他们的能力。为了更好地解释contrapunto所有参与者之间的复杂关系，我采用了符号学对位(semiotic counterpoint)的概念，该概念首先通过输入输出框来解释，灵感来自工程中的黑箱建模。对位也用方程来表示，特别是在解决记忆/保留和预测/保护问题时，随后讨论了它与Greimas的符号学的相关性和衔接。最后，我用莱布尼茨对和谐的定义和斯宾诺莎的动作最大化原则来补充对位法，以解释舞者之间不同类型的流畅互动，论证对位法不仅适用于contrapunto de zapateo，也适用于卡波耶拉、霹雳舞和接触即兴等舞蹈。
{"title":"Competence, Counterpoint and Harmony: A triad of semiotic concepts for the scholarly study of dance","authors":"Juan Felipe Miranda Medina","doi":"10.4000/signata.2655","DOIUrl":"https://doi.org/10.4000/signata.2655","url":null,"abstract":"This work presents to dance and music scholarship the concept of competence, developed and deployed by Greimas, together with the semiotic concepts of counterpoint and harmony. I emphasize competence as a temporal process that requires sanction by an external entity and which corresponds to the level of surface narrative syntax within Greimas’s method of ‘generative trajectory’. To exemplify the application of the generative trajectory to dance, I present the case of the contrapunto de zapateo from Peru. In this step dance, two or more dancers take turns and perform for an audience who claps and cheers for them and upon whom depends the appreciation of their competence. To better account for the complex relations between all actors of the contrapunto, I resort to the concept of semiotic counterpoint, which is first explained by means of input–output boxes, inspired by black box modeling in engineering. Counterpoint is also represented using equations, especially to address memory/retention and prediction/protention, with a subsequent discussion of its relevance and articulation to Greimas’s semiotics. Finally, I complement counterpoint with Leibniz’s definition of harmony and Spinoza’s principle of maximization of action, in order to account for different kinds of fluent interactions between dancers, arguing for its application not only to the contrapunto de zapateo, but also to dances such as Capoeira, breakdancing, and contact improvisation.","PeriodicalId":36048,"journal":{"name":"Signata","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80102561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：