Abstract
RESUMO Este artigo defende que os princípios dialógicos do discurso são aplicáveis tanto a linguagens verbais como a linguagens icônicas, já que compartilham certas funções, como a importantíssima função metalinguística. O artigo estuda detalhadamente, por uma perspectiva bakhtiniana, uma série de seis pinturas criadas pelo artista holandês do Século XVII Nicolaes Maes (1634-1693). Cada pintura representa poses e gestos diferentes de um bisbilhoteiro, de tal maneira que o analista-observador bakhtiniano é obrigado a ver como a pintura desse tipo curioso combina de maneiras surpreendentes linguagens verbais e visuais. As telas de bisbilhoteiros de Maes concernem à curiosidade, reunindo personagens que poderiam ter preferido permanecer independentes umas das outras. As telas apresentam códigos gestuais, corporais, linguísticos e cromáticos, fazendo o material visual funcionar criativamente e permitindo que cada linguagem se beneficie das vantagens expressivas das outras. Combinam-se aí várias perspectivas para mostrar que as capacidades expressivas de toda linguagem dada são necessariamente mais pobres quando recorrem a um único meio. Uma perspectiva bakhtiniana pode derramar nova luz sobre as pinturas de Nicolaes Maes, ao mesmo tempo em que a análise ilumina novas possibilidades semânticas no pensamento de Bakhtin.
Highlights
This article claims that the principles of dialogic discourse are applicable to both verbal and iconic languages, because they share certain functions, such as the all-important metalinguistic one
Over the past thirty to forty years, people from around the world have done much work on Bakhtin the theoretician of verbal language, and especially on Bakhtin the literary scholar. They have stressed hisfamous ideas on the novel and dialogism. They began to work on Bakhtin the cultural anthropologist, including therein his scattered thoughts on the chronotope, the philosophy of life, his phenomenological leanings, and his Neo-Kantian thinking on responsibility
I need to bear in mind much of the innovative thinking that has been published on Bakhtin’s relationship with icons and Orthodox Christianity as can be found in the work of Alexandar Mihailovic, Susan Felch, Paul Continuo, Ruth Coates, 1 Editor's Note: For a discussion on music from a Bakhtinian perspective, see Hutcheon’s articles, entitled “The Review as Bakhtinian Rejoinder: Edward W
Summary
One of Maes’ inventively listening housewives, today part of the Wallace Collection in London (Illustration 1), requires that its viewers “lend” their eyes to the eavesdropper-heroine who cannot see what the beholders of the canvas are able to see This painting gives visual body to an enterprise of “conjoint curiosity,” if not to speak of “dialogic curiosity.”. Maes’ contemporary, David Teniers (the younger), develops the painterly subject of eavesdroppers, but the latter artist (Illustration 2) does this in ways that are both “peripheral” to the main visual material being explored and parodically reminiscent of certain types of religious iconology, that of the Italian Annunciations for example and, a work originally painted by Giotto.. Many words are called upon to fill in some of the holes left by incomplete visual material or to compensate for overly ambiguous physical gestures
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