Abstract
Este artigo intenciona compreender a dimensão discursiva das pinturas por meio da análise do discurso ancorada em Michel Foucault. Recorta-se a figura do espelho em pinturas canônicas com vistas a observar seu funcionamento discursivo enquanto elemento do enunciado artístico visual. Apresenta três partes: a primeira, que determina o lugar ocupado pelo discurso estético nos trabalhos de Michel Pêcheux e de Michel Foucault; a segunda, que se concentra na análise de três pinturas europeias, a saber, As meninas, de Velásquez; Um bar em Folies-Bergère, de Manet; e As ligações perigosas, de Magritte; e a terceira parte, que discute a intersecção entre visualidade e interdiscursividade a partir (a) das reflexões de M. Foucault acerca do discurso estético e (b) da figura do espelho presente nessas pinturas.
Highlights
How can Discourse Analysis approach objects that do not have explicit language registrations, such as the case of paintings? This apparently simple question generates a number of other questions, when an exclusively visual object is confronted with a theoretical and methodological framework of this domain
The reflections presented in this study were based on the French Discourse Analysis perspective, derived from dialogues between Michel Pêcheux - and his group and Michel Foucault
PÊCHEUX, 2009, p.147) which are interrelated in the discursive field of art, more in the discursive subfield of paintings, how the techniques and effects are named in each one will be observed
Summary
How can Discourse Analysis approach objects that do not have explicit language registrations, such as the case of paintings? This apparently simple question generates a number of other questions, when an exclusively visual object is confronted with a theoretical and methodological framework of this domain. Discourse Analysis is not hindered from working on various discursive materialities, "[...] implied in ideological rituals, in philosophical discourses, in political utterances, in cultural and aesthetic forms, through their everyday relations. According to Pêcheux, we need to study other materialities always with respect to political discourses These last two excerpts previously presented show the possibility of working the discursive materialities implied in aesthetic forms. They built the basis of what we think today about the relations between language and discourse, about the non-evidence of the senses, about the articulations of subjectivity with otherness, about ideological determination, about dialogue, about intertextuality, about interdiscursivity They built the possibility of new views on text, on discursive processes which sustain them". They are pointed by Maingueneau (2009) as: (i) positioning discourses in a discursive field (baroque, impressionism, surrealism); (ii) positioning discourses of a category of speaker (the painters Velásquez, Manet, and Magritte); and (iii) the discourse of scientific type, be it of art history (GOMBRICH, 2001) be it of symbology (mirror) in art (CHEVALIER; GHEERBRANT, 1982)
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