Potentialities of “being” and “being not” and the “beau geste” between Io sono l’Amore and Amour

Authors

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2017.132941

Keywords:

Greimas and the “beau geste”, social conventions, rupture and potency, contemporary practices, cinema and expressiveness.

Abstract

The paper deals with the notion of the “beau geste”, firstly developed by Algirdas Julien Greimas and lately increased by Jacques Fontanille. The concept is taken here through the transversality of the idea of potency and contingency by the thought of Giorgio Agamben and articulated to two manifest empirical processes in the cinematographic expression of the films Io sono l’Amore and Amour. These examples are significative to show the ambivalent character of the so called “beau geste”, to inscribe in human actions the extreme possibility of social conventions’ rupture.

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Author Biographies

  • Kati Eliana Caetano, University Tuiuti of Paraná

    Lecturer in the Postgraduate Program in Communication and Languages of the University Tuiuti of Paraná - PPGCom / UTP. PhD in Letters / USP with post-doctorate in Semiotics and Language Sciences (France). Leader of the Research Group "Communication Interactions, Images and Digital Cultures" - INCOM / CNPQ.

  • Sandra Fischer, University Tuiuti of Paraná

    PhD in Communication Sciences (School of Communications and Arts, University of São Paulo- ECA / USP); Post-doctorate in Cinema (School of Communication of the Federal University of Rio de Janeiro - ECO / UFRJ). Lecturer and researcher of the Post-Graduate Program in Communication and Languages of the University of Tuiuti do Paraná (PPGCom / UTP) and coordinator of the Research Line of Cinema and Audiovisual Studies. Researcher associated with the Group of Research Unfolding Symbolic of Urban Space in Audiovisual Narratives - GRUDES (PPGCom / UTP).

References

AGAMBEN, G.; PAIXÃO, P. A. H. (Eds.). Bartleby, escrita da potência: Bartleby, ou da contingência, seguido de Bartleby, o escrivão de Herman Melville. Lisboa: Assírio e Alvim, 2008.

______. A potência do pensamento: ensaios e conferências. Belo Horizonte: Autêntica, 2015.DELEUZE, G.; GUATTARI, F. ¿Qué es la filosofía? 8. ed. Barcelona: Anagrama, 2009. p. 164-201. (Coleção Argumentos).

FONTANILLE, J. Formes de vie. Liège: Universitaires de Liège, 2015. (Série Sigilla).

GREIMAS, A.; FONTANILLE, J. “Le beau geste”. Recherches Sémiotiques: Semiotic Inquiry, Toronto, v. 13, n. 1-2, p. 21-35, 1993.

______. O belo gesto. In: NASCIMENTO, E. M. S. F.; ABRIATA, V. L. R. (Orgs.). Formas de vida: rotina e acontecimento. Ribeirão Preto: Coruja, 2014. p. 13-33.MELVILLE, H. Bartleby, o escrivão: uma história de Wall Street. São Paulo: Cosac Naify, 2005.

NASCIMENTO, E. M. S. F.; ABRIATA, V. L. R. (Orgs.). Formas de vida: rotina e acontecimento. Ribeirão Preto: Coruja, 2014.

RICOUER, P. Soi-même comme un autre. Paris: Seuil, 1990. (Série Ordre philosophique).

Referências audiovisuais

AMOUR (Amor). Michael Haneke, França; Alemanha; Áustria, 2012.

IO SONO l’Amore (Um sonho de amor). Luca Guadagnino, Itália, 2009.

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Published

2017-12-19

Issue

Vol. 44 No. 48 (2017): Dossiê: 100 anos de Greimas: Perspectivas no Audiovisual

Section

Dossier

License

Copyright (c) 2017 Kati Eliana Caetano, Sandra Fischer

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How to Cite

Potentialities of “being” and “being not” and the “beau geste” between Io sono l’Amore and Amour. (2017). Significação: Journal of Audiovisual Culture, 44(48), 86-97. https://doi.org/10.11606/issn.2316-7114.sig.2017.132941