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Para uma cultura visual do farol : uma abordagem semiĆ³tica a partir do bilhete-postal ilustrado
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Abstract(s)
Para uma Cultura Visual do Farol: uma Abordagem SemiĆ³tica a partir do Bilhete-postal Ilustrado analisa um corpus selecionado de postais ilustrados, do sĆ©culo XX, com representaƧƵes fotogrĆ”ficas de farĆ³is da costa continental portuguesa. Desde a sua introduĆ§Ć£o em finais do sĆ©culo XIX e ao longo do sĆ©culo XX, o bilhete-postal ilustrado foi um meio de comunicaĆ§Ć£o amplamente utilizado, correspondendo o seu apogeu ao primeiro quartel do Ćŗltimo sĆ©culo. Com efeito, o bilhete-postal promoveu a circulaĆ§Ć£o de uma ampla variedade de imagens fotogrĆ”ficas. Porque as imagens que transportou ā e ainda transporta ā merecem um olhar crĆtico, nas Ćŗltimas dĆ©cadas, veio a originar produĆ§Ć£o cientĆfica prolĆfica que contribuiu para a sua valorizaĆ§Ć£o enquanto objeto cultural complexo. Por isso, o bilhete-postal prefigura-se como um meio adequado para a anĆ”lise daquele que Ć© o protagonista visual das imagens fotogrĆ”ficas deste estudo: o farol. Por seu lado, os farĆ³is sĆ£o marcas marĆtimas imprescindĆveis de auxĆlio Ć navegaĆ§Ć£o que traƧaram um longo trajeto histĆ³rico-evolutivo. SĆ£o edifĆcios semiĆ³ticos na medida em que emitem um sinal visual que anuncia uma mensagem simples: āzona de perigoā e āestais aquiā (seguranƧa e geoposicionamento). Os prĆ³prios edifĆcios, pelas respetivas configuraƧƵes fĆsicas Ćŗnicas, sĆ£o sinais e a sua fisionomia surge registada nas cartas nĆ”uticas enquanto ponto de referĆŖncia. Esta pesquisa questiona e investiga o modo como o bilhete-postal ilustrado constrĆ³i uma cultura visual do farol e, tambĆ©m, o modo como o farol tem impacto na construĆ§Ć£o de uma cultura visual. Para atender a estas perguntas, o estudo problematiza e demonstra as caracterĆsticas intrĆnsecas do artefacto compĆ³sito bilhete-postal/farol. Ambos os objetos sĆ£o analisados, nas suas singularidades individuais e no que tĆŖm em comum, enquanto meios de transmissĆ£o de mensagens, Ć luz de uma abordagem semiĆ³tica. Porque as imagens originais, reunidas em coleĆ§Ć£o, exibem edifĆcios da costa continental portuguesa, o estudo enquadra-se na realidade nacional. Como consequĆŖncia disso, o estudo lanƧa as bases para o entendimento da lĆ³gica polĆtico-administrativa e da analogia ontolĆ³gica que fundamenta a fusĆ£o dos serviƧos de comunicaƧƵes e alumiamento, efetuado pelo Estado, em Portugal, num perĆodo especĆfico (1880-1892). O estudo revela, tambĆ©m, as circunstĆ¢ncias que possibilitaram a uniĆ£o do bilhete-postal ao farol para cumprir o seu objetivo: o studium (Barthes, 2000) do corpus selecionado de bilhetes-postais com imagens fotogrĆ”ficas numa perspetiva denotativa, mas, tambĆ©m, numa perspetiva conotativa com o fito Ćŗltimo de desvelar uma cultura visual do farol.
Towards a Visual Culture of the Lighthouse: a Semiotic Approach based on the Picture Postcard analyses a corpus of selected picture postcards, from the 20th century, featuring photographic representations of lighthouses located on the Portuguese continental shoreline. Ever since their first introduction, in the end of the 19th century, and throughout the 20th century, picture postcards were a widely used means of communication. Its heyday corresponds to the first quarter of the 20th century. In fact, the postcard fostered the circulation of a wide range of photographic images. Once the images it carried ā and still carries ā deserve an insightful critical look, over the last decades, the picture postcard originated prolific scientific production, which enhanced its value as a complex cultural object. Hence, the picture postcard proves to be the suitable means to the analysis of the visual protagonist of the photographs studied in the current research: the lighthouse. On the other hand, lighthouses are indispensable maritime signals/aids to navigation which have undertaken a long material evolution path. They are semiotic buildings since they cast a visual signal that discloses a simple message: ādanger zoneā and āyou are hereā (safety to navigation and geo-positioning). The buildings themselves, through their individual material configuration, are signs and their physiognomy is depicted and recorded on nautical charts as key reference points. This research queries how the picture postcard accrues to a visual culture of the lighthouse while it also asks how the lighthouse has impact on the construction of a visual culture. To answer these questions the research problematizes and reveals the intrinsic characteristics of the composite artifact picture postcard/lighthouse. To that end, both objects are examined in their singular individualities and in what they share as means to convey messages, in the light shed by a semiotic approach. Once the original images, gathered in a picture postcard collection, reveal buildings located on the Portuguese continental shoreline, both the research and its framework take the national reality as their subject matter. Therefore, the research lays the foundations to grasp the political and administrative reason and the ontological analogy that lies at the heart of the fusion of the communications and lighthouse services, carried out by the Portuguese State, in a specific period (1880-1892). This study uncovers, too, the circumstances which afforded the union between the picture postcard and the lighthouse, to meet its goal: the studium (Barthes, 2000) of the selected corpus of picture postcards with photographic renderings of the lighthouse both from a denotative perspective, but also, and foremost, from a connotative perspective with the aim of disclosing a visual culture of the lighthouse.
Towards a Visual Culture of the Lighthouse: a Semiotic Approach based on the Picture Postcard analyses a corpus of selected picture postcards, from the 20th century, featuring photographic representations of lighthouses located on the Portuguese continental shoreline. Ever since their first introduction, in the end of the 19th century, and throughout the 20th century, picture postcards were a widely used means of communication. Its heyday corresponds to the first quarter of the 20th century. In fact, the postcard fostered the circulation of a wide range of photographic images. Once the images it carried ā and still carries ā deserve an insightful critical look, over the last decades, the picture postcard originated prolific scientific production, which enhanced its value as a complex cultural object. Hence, the picture postcard proves to be the suitable means to the analysis of the visual protagonist of the photographs studied in the current research: the lighthouse. On the other hand, lighthouses are indispensable maritime signals/aids to navigation which have undertaken a long material evolution path. They are semiotic buildings since they cast a visual signal that discloses a simple message: ādanger zoneā and āyou are hereā (safety to navigation and geo-positioning). The buildings themselves, through their individual material configuration, are signs and their physiognomy is depicted and recorded on nautical charts as key reference points. This research queries how the picture postcard accrues to a visual culture of the lighthouse while it also asks how the lighthouse has impact on the construction of a visual culture. To answer these questions the research problematizes and reveals the intrinsic characteristics of the composite artifact picture postcard/lighthouse. To that end, both objects are examined in their singular individualities and in what they share as means to convey messages, in the light shed by a semiotic approach. Once the original images, gathered in a picture postcard collection, reveal buildings located on the Portuguese continental shoreline, both the research and its framework take the national reality as their subject matter. Therefore, the research lays the foundations to grasp the political and administrative reason and the ontological analogy that lies at the heart of the fusion of the communications and lighthouse services, carried out by the Portuguese State, in a specific period (1880-1892). This study uncovers, too, the circumstances which afforded the union between the picture postcard and the lighthouse, to meet its goal: the studium (Barthes, 2000) of the selected corpus of picture postcards with photographic renderings of the lighthouse both from a denotative perspective, but also, and foremost, from a connotative perspective with the aim of disclosing a visual culture of the lighthouse.
Description
Keywords
Bilhete-postal ilustrado Farol Meios de comunicaĆ§Ć£o SemiĆ³tica Fotografia Cultura visual Picture postcard Lighthouse Means of communication Semiotics Photography Visual culture
Pedagogical Context
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CC License
Without CC licence