El Discurso de la Informacion. La Construccion del Espejo Social. Barcelona: Gedisa. Charaudeau, Patrick. “Des categories pour l’humor?” Questions de . Charaudeau, Patrick. El discurso de la información, la construcción del espejo social. Traducción de Margarita Mizraji. Barcelona: Editorial Gedisa. Charaudeau, Patrick. El Discurso de la Informacion. La construccion del discurso social. Barcelona: Editorial Gedisa. Clayman, Steven and I. Heritage.

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I believe all similar artistic production draws from this experience as well.

Discurso de la información by Xime Coronado Otavalo on Prezi

There is a visual language that requires enunciation strategies, in order to gain in clarity and power, while reigning in the polysemy of images.

In my view, this is what Charaudeau alludes to when he discusses sovereignty. However, we must also consider that some of the objects of this political discourse outstrip the communication situation for which they were created, circulating in other environments, reproducing themselves through different supports which endow them with other meanings.

Dictionnaire d’analyse du discours. Propositions for a Theorizing of the Journalistic Coproduction. But the producers are not reduced to being art professionals, although some of them indeed are: Send us a comment.

Political graphic art is linked to, and articulated with, a collective order aiming towards a political demarcation, not merely a particular rhetoric and argumentation. Discourses about inter-societal relationship in textbooks for French as a foreign. Lastly, I think political discourse, the object of these considerations, resides in the civil sphere because of its place of production and circulation. Paulo et O Estado de S.

He also points out that the visual force of a political image resides on the visual treatment of the graphic space, in terms of composition and the ordering of its constituent elements. Male Nationality or associated country: The presse in relation to the discourse of political actors: These could be the markers of a contested territory in current struggles and conflicts.

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Even slogans, written or shouted, have an argumentative function, since they contain an emotional and passionate reason, they generate a sense of belonging and an effective means of expression, when they are viewed as a collective cry that ought to be heard. This is important, because these images are made to be seen in movement, even if afterwards they remain outside the space-time frame of the demonstration.

This brief characterization should suffice to place the political graphic disfurso that I will use as a referent for my following charauseau.

Its argumentative dimension highlights the reasoning logics that effect particular stances. The construction of the presidential image in the satirical press: Political graphic art constitutes a discourse of demands, denunciation or protest, which interpellates the government and the State with its multiple institutions.


There is not only an enunciative stance in a specific communication situation or context spatially, temporally, socially and historically determinedbut a political stance as well, which involves infomacion determinate exercise of power. Without delving into it, let us mention that it achieved the goals and functions set for it by the student movement, and also transcended its historical moment, ijformacion the most important referent for contemporary political graphic art, in its double testimonial role: To begin with, we must view argumentation as a way of organizing discourse, aiming at describing the why and how of the phenomena of the world.

The conflict is situated amidst the graphic objects which require the construction of linguistic-iconic images, always striving for the status of a symbol, even if they not always achieve it, in spite of the search for message-simplification and synthetic capabilities.

Approaches to Political Graphic Art as Discourse

Therein lies the legitimacy of this collective and communal dimension, gathered in by symbolic bonds in terms of a shared social ideality. This demands discoursive strategies for the different communicational contexts at play, where one of the strategies distinguished by Charaudeau 9 will prevail: Their main purpose is to produce a sensory, affective and reflexive motivation in the audience; an df which is sought for, found, and produced in the context of their circulation.

Argumentation in the TV news: A public space of assumptions and identifications, a stage and a context for a public art where awareness of the ciscurso is ever present. Whoever engages in argumentation effects a cognitive activity: To this end, it deploys linguistic-iconic rhetoric, and rhetorical figures such as antithesis, where the image the subject of the statement has an affirmative function, while the accompanying text the subject of enunciation introduces negation so as to provoke a tension between the iconic and the linguistic realms.

Approaches to Political Graphic Art as Discourse | Piso 9

Discourse is always produced in a communication situation, and its aim is determined by this very situation. The enunciating subject and the communicator express the collective interests and longings of a constructed community; graphic producers materialize them, objectify them. In this essay I will call it political graphic art, considering it a part of political discourse, as a structured set of pztrick with specific signifying codes and communication strategies, determined by their particular modes of production and circulation.

These products are made with diverse techniques and supports, mainly linoleum, serigraph, stencils, offset, banners, graffiti and stickers. This is the natural and immediate community of political graphic art, in terms of structured situations for action: Anonymous graphic art for Ayotzinapa.


Every social mobilization, particularly since the student movement dicursogoes hand in hand with an emerging graphic art production raising discruso the socio-political conjuncture. It is rooted in historical time, the time of concrete social relations. This is a common format to this kind of expression: In this sense, there is an express manifestation of values, such as indignation before injustice; solidarity; or the demand for human rights to be respected, to mention just a few.

A Folha de S. Countries and Regions of Publication 8 View the list below for more details.

This particular graphic art production places itself outside the logic of the market and of the institutional sphere, even if it is sometimes produced within institutions that have been turned into bases for the movement, as was the case inwhen visual arts schools were turned into large inormacion workshops at the service of the student movement.

The Discourses in Interaction of the Online Press. Their circulation is varied as well: An ethical consideration should be added to this, since this posits a moral choice in a specific situation or conjuncture, which involves taking position, leading to concrete action.

Without attempting a precise description of all of its formal aspects, and avoiding any reference to particular sets or contexts, it is nonetheless necessary to state some of its features, in order to patrixk the object of my considerations. Roque posits a series of ideas arising from an analysis of the graphic art of 68, to explain and elucidate its argumentative force. The purpose of political disdurso art as part of a broader political discourse, with diverse forms of expression, is always interactional and it always aims at producing an effect.

Benedetti states that someone will not fail to wonder how we can have the time and the willingness to sing, paint or dance; he points out that these expressions produce an aesthetic effect, interpellate in another way, bring us affectively closer, build a community: Argumentative strategies and relationship to power. They are usually graphic art production groups who assume the collective dimension as a charraudeau, and establish their work dynamics under this guise: