Se pourrait-il que le cinéma ne se soit pas mis à parler parce qu’il avait quelque chose à dire, mais afin de faire parler la parole, de la mettre sur écoute, de renseigner les imaginaires discursifs qui configurent notre expérience commune ? Se pourrait-il que le langage soit ainsi inscrit au cœur du septième art, comme il fut au centre des savoirs de la modernité théorique ? Notre époque a inventé les moyens de reproduire techniquement la parole, mais n’a sans doute pas tout à fait pris la mesure de la révolution anthropologique induite par la visibilité exceptionnelle que ceux-ci lui donnent. Nous partons de l’hypothèse qu’il y a une pensée cinématographique du langage et de ses usages, un savoir (esthétique, rhétorique, poétique) qui s’ajoute à la parole dès lors qu’elle est représentée dans les films. Plaçant la parole filmée au centre de l’analyse de quatre fables cinématographiques — Fury (1936) de Fritz Lang, Fail Safe (1963) de Sidney Lumet, Salò (1975) de Pier Paolo Pasolini et Film Socialisme (2010) de Jean-Luc Godard —, ce travail donne à entendre quatre "leçons de langage", interrogeant les puissances et les infortunes de la parole dans un monde persuadé qu’il communique massivement. À quoi pensent les films quand ils parlent ? Entre autres choses, ils méditent la portée sociale et politique des actes de parole. / Could it be that movies did not started talking because they had something to say, but in order to make the speech speak, to overhear it, to inform the discursive imaginaries that shape our common experience ? Could it be that language is at the very heart of the art of film, as it has been at the centre of modern theoretical knowledges ? Our times have invented the means of reproducing speech technically, but we have probably not fully appreciated the importance of the anthropological revolution induced by the exceptional visibility that it provides to it. Our hypothesis is that there is a cinematographic thought of language and of its uses, an aesthetical, rhetorical and poetical knowledge that is added to speech when it is represented in films. Putting the filmed speech in the centre of the analysis of four cinematographic fables — Fritz Lang’s Fury (1936), Sidney Lumet’s Fail Safe (1963), Pier Paolo Pasolini’s Salò (1975) and Jean-Luc Godard’s Film Socialisme (2010) — our work proposes four « language lessons », questioning the powers and misfortunes of speech in a world convinced that we communicate massively. What do films think when they talk ? Among other things, they meditate the social and political significance of speech acts.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-13T18:43:28Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE_doutorado-2016_linguagem_Glayci-Xavier.pdf: 33921597 bytes, checksum: dbae3054c1ce07765a49fe0be4c2e2dc (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-06T15:02:32Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE_doutorado-2016_linguagem_Glayci-Xavier.pdf: 33921597 bytes, checksum: dbae3054c1ce07765a49fe0be4c2e2dc (MD5) / Made available in DSpace on 2017-06-06T15:02:32Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE_doutorado-2016_linguagem_Glayci-Xavier.pdf: 33921597 bytes, checksum: dbae3054c1ce07765a49fe0be4c2e2dc (MD5) / Colégio Pedro II, São Cristóvão III, Rio de Janeiro, RJ / O presente trabalho analisa a construção das encenações descritiva e narrativa no mangá Turma da Mônica Jovem, obra de Maurício de Sousa, e os efeitos de sentido decorrentes destas, produzidos por meio da relação verbo-visual. Como diretriz da pesquisa, são empregados, sobretudo, pressupostos da Teoria Semiolinguística de Análise do Discurso, de Patrick Charaudeau, com relação à competência de linguagem, aos modos de organização do discurso – enfatizando os modos descritivo e narrativo – e aos imaginários sociodiscursivos. Além disso, focalizando a relação palavra-imagem, são utilizados alguns preceitos da semiótica peirciana, com o apoio de outros conceitos e aportes teóricos relacionados à relação verbo-visual e às histórias em quadrinhos. Como corpus de análise, são utilizados fragmentos de edições alternadas da revista Turma da Mônica Jovem (entre a edição 1 e a 64) para exemplificar os aspectos elencados, além das edições 41, 48 e 63, para uma análise global e aplicação dos conceitos estudados. Por meio da análise das estratégias discursivas utilizadas no material, é possível concluir que, para adequar a publicação ao novo sujeito destinatário, procurou-se manter o perfil ideológico da Turma da Mônica tradicional, adicionando elementos que programassem um destinatário ideal com o qual o público leitor e consumidor se identificasse. Somando-se a isso, como estratégia de captação, foram utilizadas representações sociais e imaginários sociodiscursivos relativos ao universo adolescente com um papel de espelho identitário, facilitando a adesão do leitor / This paper analyzes the construction of the descriptive and narrative staging in the Monica Teen manga, created by Maurício de Sousa, and the effects of meaning deriving from them, produced by the verb-visual interface. The survey was conducted from the theoreticalmethodological approach of Semiolinguistics Theory, by Patrick Charaudeau, related to the language competence, the discourse organization modes – emphasizing the descriptive and the narrative – and the socio-discursive imaginaries. Furthermore, to focus on the word-image relationship, some precepts of Peirce's semiotics were used, and other concepts and theoretical issues connected to the verb-visual interface, also related to comics. As corpus of analysis, fragments of alternated editions from Monica Teen comic book are used (between editing 1 and 64) to exemplify the listed aspects; in addition, the editions numbers 41, 48 and 63 are used for a global analysis and application of the concepts studied. Throughout the analysis of the discursive strategies used in the material, it can be concluded that, in order to adapt the publication to new subject receiver, they tried to keep the ideological profile of Monica´s Gang, adding elements that could program an ideal receiver with whom the readership and consumers would identify themselves. In addition, as a strategy of captation, social representations and socio-discursive imaginary from the adolescent universe were used, with the role of an identity mirror, facilitating the reader's adherence