Humano, demasiadamente humano: sobre emoções e masculinidade

Abstract

Com base na Semiótica Social e na multimodalidade, este artigo analisou quatro propagandas das edições de março de 2005 da revista Veja nas quais figuravam homens de diferentes idades e em diferentes contextos. Dentro dessa concepção sócio-semiótica, pretendeu-se identificar os potenciais de significados veiculados por vários modos semióticos relacionados com a função interpessoal da linguagem, ligando-os a conteúdos emocionais. Inauguramos uma perspectiva diferenciada de análise do signo da emoção propondo categorias analíticas multimodais complementares àquelas disponíveis na literatura (Kress & van Leeuwen, 2006). Os resultados indicam que as propagandas fazem parte do projeto de engajamento da masculinidade hegemônica com conteúdos de poder e ausência de emoções.

Fashion and Visual Language: A Social Semiotic Analysis of Women’s Clothing in Photographs From the 1920’s

“…This text presents a study of a bibliographical nature based on scholars in the areas of visual language such as Gomes et al (2019), Kress (2010), Kress and Van Leeuwen (2006), Orlandi (1999); social semiotics, such as Hodge and Kress (1988), Fiorin (2017), Pimenta and Natividade (2012) and fashion, such as Laver (1989), Kohler (2001, Braga (2009), Nery (2009), Fiell and Dietrix (2014), Boucher (2010), Bonadio (2007), Pollini (2007), who provided theoretical support for the literature review as well as for the analysis of images using the categories proposed by Kress and Van Leeuwen (2006) and Pimenta and Natividade (2012), as they added to the modality markers of Kress and Van Leeuwen (2006) the modality marker "appearance conformity", which we consider important for the analysis of fashion images, Kress and Van Leeuwen (2006) consider that the meanings of images always belong to culture, therefore, social semiotics considers the relationships between signifiers and meanings from the sociocultural contexts that involve the systems of production, dissemination and reception of the message, in order to scrutinise the textual structure and the discourses they imply. In this way, photography is considered as a social event and a communicational entity and, therefore, a multimodal view of semioses constructed through interaction with social phenomena is adopted in this analysis.…”