O texto crítico em artes visuais na Revista Bravo!: análise estrutural

Abstract

The theme of the research had as its starting point in the search line and Reflections Fundamentals of Arts, focused primarily on the Theory and Criticism of Contemporary Art, thus enabling the analysis of critical texts of cultural diffusion of Bravo Magazine!, Chosen by the art and address culture in the current language. The corpus of work consists of three critical texts published in 2007, taken from the \"Fine Arts\", specifically those entitled \"Critical\" and signed by Marcelo Rezende. To develop this work, we sought to anchor some authors, each for a certain characteristic of the research. Among them, Lucia Teixeira (1996), who conducted an extensive analysis on the production of critical writing on visual art in news magazines and used as a methodological basis Greimas semiotics and its proximity to structuralism. In general, the Structuralist method is proposed to explore the inter-relationships, structures that are produced within the meaning of culture and semiotics studies the discourse that is based on the narrative structure can be identified in any genre. The analyzes of the texts will be made building on the contribution that they bring: dissemination of artistic expression, content and consistency of the information contained in the texts in relation to theories of art in the national context; consolidation of a thought in visual art. Being the object of research, print media, which aims to convince the reader to shop and visit, giving greater visibility to the product that the critic is describing in his text. The semiotic square developed by Greimas is located in the elementary structure, a combination of relations of contradiction and affirmation, contrary points in the text, is the starting point of generative route, can be applied to any significant instance, that is, any object or verbal non-verbal. The survey results allow to reveal the fundamental structures, composed of two semantic categories that are worked in the semiotic square - Interiority and Exteriority. The Interiority is the time in which the author develops their critical thinking, internal reflections and making findings regarding the subject addressed in the text. And the Exteriority is the use or application of the text in the speech reaches the public viewer of the artwork. These two semantic categories along with the elements that make up the shaft - the coexistence of opposites, non-interiority and exteriority are non-adjustment of relations of contradiction and affirmation that allows you to index all the different relationships that can be determined through the course of generative sense. In the texts, Marcelo Rezende, works with the authority to the contrary, this critical feature was evident after the analysis using the semiotic square. Given this, we can conclude that in the three analyzed texts, the critic works very well the issues related to semantic categories, Interiority and Exteriority, making it established an open dialogue with the reader. It is evident when the critic enables the reader to create the image in your mind of the exhibition that is being described in the text.