A CONTRAJUNÇÃO SEMIÓTICA NA OBRA DE RENÉ MAGRITTE
Surrealism was an aesthetic school of great importance for Western Art History. Although it was an art that protested against the crises provoked by the bourgeois systems, it did not diminish its expressive force and influence over other countries, including Brazil. Begun in Paris, soon after the Fi...
| Authors: | , |
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2019 |
| Country: | Brasil |
| Institution: | Universidade Federal da Paraíba (UFPB) |
| Repository: | Acta Semiótica et Lingvistica (Online) |
| Language: | Portuguese |
| OAI Identifier: | oai:periodicos.ufpb.br:article/49256 |
| Online Access: | https://periodicos.ufpb.br/index.php/actas/article/view/49256 |
| Access Level: | Open access |
| Keyword: | SEMIOTICS MAGRITTE SURREALISM SEMIÓTICA SURREALISMO |
| Summary: | Surrealism was an aesthetic school of great importance for Western Art History. Although it was an art that protested against the crises provoked by the bourgeois systems, it did not diminish its expressive force and influence over other countries, including Brazil. Begun in Paris, soon after the First World War, this artistic movement would feature a highly expressive Belgian painter: René Magritte. The present work seeks to observe from the perspective of three semiotic schools only one strategy used by Magritte to break the game of representation of the real, which we will call the counterjunction. To do so, we will analyze three paintings of the painter in question. The signs analyzed are not verbal and, therefore, the counterjunction we hope to demonstrate occurs by elements and strategies distinct from verbal language. |
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