The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit?
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Outros Autores: | |
Tipo de documento: | preprint |
Idioma: | por |
Título da fonte: | SciELO Preprints |
Texto Completo: | https://preprints.scielo.org/index.php/scielo/preprint/view/5961 |
Resumo: | From a dialogic perspective, this paper addresses an utterance related to aesthetic activity to investigate the relevance of the author’s speech plan in establishing the utterance’s boundaries. We analyse an artwork by Cildo Meireles for the exhibition Documenta 11, Disappearing Element/Disappeared Element (imminent past) (2002), as a concrete utterance which answers (responsibly) to its present context. For a general audience, the intervention consists of selling ice lollies made of pure water around Kassel, the city of the exhibition. However, taking into consideration other utterances of this discursive chain, the absolute enunciative boundaries of the artwork turned out to be more than buying-and-selling ice lollies. Through Bakhtin and the Circle’s ideas, such as subjects’ alternance and the specific conclusibility of an utterance, it is possible to consider that the author’s speech plan is fundamental to establish its enunciative boundaries. It demonstrates that it is necessary to understand the “speaker will” in order to identify those boundaries properly. Based on that, we delimited the initial and final boundaries of the concrete utterance. In conclusion, such boundaries are more dilated than what can be supposed to its general audience. |
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The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit?As fronteiras do enunciado concreto: Limite Desaparecendo/Limite Desaparecido?enunciado concretolimites enunciativosprojeto discursivoCildo Meirelesconcrete utteranceenunciative boundariesspeech planCildo MeirelesFrom a dialogic perspective, this paper addresses an utterance related to aesthetic activity to investigate the relevance of the author’s speech plan in establishing the utterance’s boundaries. We analyse an artwork by Cildo Meireles for the exhibition Documenta 11, Disappearing Element/Disappeared Element (imminent past) (2002), as a concrete utterance which answers (responsibly) to its present context. For a general audience, the intervention consists of selling ice lollies made of pure water around Kassel, the city of the exhibition. However, taking into consideration other utterances of this discursive chain, the absolute enunciative boundaries of the artwork turned out to be more than buying-and-selling ice lollies. Through Bakhtin and the Circle’s ideas, such as subjects’ alternance and the specific conclusibility of an utterance, it is possible to consider that the author’s speech plan is fundamental to establish its enunciative boundaries. It demonstrates that it is necessary to understand the “speaker will” in order to identify those boundaries properly. Based on that, we delimited the initial and final boundaries of the concrete utterance. In conclusion, such boundaries are more dilated than what can be supposed to its general audience.A partir de uma perspectiva dialógica, este artigo se volta a um enunciado ligado à atividade estética visando investigar a relevância do projeto discursivo do autor no estabelecimento de fronteiras enunciativas. Analisamos Elemento Desaparecendo/Elemento Desaparecido (passado iminente) (2002), obra elaborada por Cildo Meireles para a mostra de arte Documenta 11, como enunciado concreto responsivo ao contexto seu contemporâneo. Para o público geral, a intervenção consistia na venda de picolés de água por Kassel, local da mostra; mas, considerando outros enunciados dessa cadeia discursiva, pode-se constatar que as fronteiras enunciativas absolutas da obra vão além da ação de compra-venda dos picolés. Através de reflexões engendradas por Bakhtin e o Círculo, implicando alternância de sujeitos e conclusibilidade específica do enunciado, pode-se considerar que o projeto discursivo do autor é fundamental para o estabelecimento de fronteiras enunciativas, sendo necessário compreender esse “querer dizer” para identificá-las apropriadamente. Assim, delimita-se as fronteiras inicial e final absolutas do enunciado concreto da obra e conclui-se que, neste caso, tais fronteiras se revelam mais dilatadas do que suporia um público geral da mostra.SciELO PreprintsSciELO PreprintsSciELO Preprints2023-05-19info:eu-repo/semantics/preprintinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://preprints.scielo.org/index.php/scielo/preprint/view/596110.1590/1678-460x202358582porhttps://preprints.scielo.org/index.php/scielo/article/view/5961/11460Copyright (c) 2023 Maria Elizabeth da Silva Queijo, Carlos Gontijo Rosahttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessQueijo, Maria Elizabeth da SilvaRosa, Carlos Gontijoreponame:SciELO Preprintsinstname:Scientific Electronic Library Online (SCIELO)instacron:SCI2023-05-19T16:42:15Zoai:ops.preprints.scielo.org:preprint/5961Servidor de preprintshttps://preprints.scielo.org/index.php/scieloONGhttps://preprints.scielo.org/index.php/scielo/oaiscielo.submission@scielo.orgopendoar:2023-05-19T16:42:15SciELO Preprints - Scientific Electronic Library Online (SCIELO)false |
dc.title.none.fl_str_mv |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? As fronteiras do enunciado concreto: Limite Desaparecendo/Limite Desaparecido? |
title |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
spellingShingle |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? Queijo, Maria Elizabeth da Silva enunciado concreto limites enunciativos projeto discursivo Cildo Meireles concrete utterance enunciative boundaries speech plan Cildo Meireles |
title_short |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
title_full |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
title_fullStr |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
title_full_unstemmed |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
title_sort |
The boundaries of the concrete utterance: Disappearing Limit/Disappeared Limit? |
author |
Queijo, Maria Elizabeth da Silva |
author_facet |
Queijo, Maria Elizabeth da Silva Rosa, Carlos Gontijo |
author_role |
author |
author2 |
Rosa, Carlos Gontijo |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Queijo, Maria Elizabeth da Silva Rosa, Carlos Gontijo |
dc.subject.por.fl_str_mv |
enunciado concreto limites enunciativos projeto discursivo Cildo Meireles concrete utterance enunciative boundaries speech plan Cildo Meireles |
topic |
enunciado concreto limites enunciativos projeto discursivo Cildo Meireles concrete utterance enunciative boundaries speech plan Cildo Meireles |
description |
From a dialogic perspective, this paper addresses an utterance related to aesthetic activity to investigate the relevance of the author’s speech plan in establishing the utterance’s boundaries. We analyse an artwork by Cildo Meireles for the exhibition Documenta 11, Disappearing Element/Disappeared Element (imminent past) (2002), as a concrete utterance which answers (responsibly) to its present context. For a general audience, the intervention consists of selling ice lollies made of pure water around Kassel, the city of the exhibition. However, taking into consideration other utterances of this discursive chain, the absolute enunciative boundaries of the artwork turned out to be more than buying-and-selling ice lollies. Through Bakhtin and the Circle’s ideas, such as subjects’ alternance and the specific conclusibility of an utterance, it is possible to consider that the author’s speech plan is fundamental to establish its enunciative boundaries. It demonstrates that it is necessary to understand the “speaker will” in order to identify those boundaries properly. Based on that, we delimited the initial and final boundaries of the concrete utterance. In conclusion, such boundaries are more dilated than what can be supposed to its general audience. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-05-19 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/preprint info:eu-repo/semantics/publishedVersion |
format |
preprint |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://preprints.scielo.org/index.php/scielo/preprint/view/5961 10.1590/1678-460x202358582 |
url |
https://preprints.scielo.org/index.php/scielo/preprint/view/5961 |
identifier_str_mv |
10.1590/1678-460x202358582 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://preprints.scielo.org/index.php/scielo/article/view/5961/11460 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Maria Elizabeth da Silva Queijo, Carlos Gontijo Rosa https://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Maria Elizabeth da Silva Queijo, Carlos Gontijo Rosa https://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
SciELO Preprints SciELO Preprints SciELO Preprints |
publisher.none.fl_str_mv |
SciELO Preprints SciELO Preprints SciELO Preprints |
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reponame:SciELO Preprints instname:Scientific Electronic Library Online (SCIELO) instacron:SCI |
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Scientific Electronic Library Online (SCIELO) |
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SciELO Preprints - Scientific Electronic Library Online (SCIELO) |
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