AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case

Abstract: Definitely conceptualizing words that represent phenomena as heterogeneous as “art”, even though it is a difficult task, is a constant issue in the debates of the human sciences. In the meantime, stereotypes appear quite naturally, especially in movements that do not figure among the more...

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Autor principal: Ferrari Júnior, Jair
Formato: Online
Idioma:por
Publicado em: Portal de Periódicos Eletrônicos da UFRN
Endereço do item:https://periodicos.ufrn.br/RevSaridh/article/view/26373
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id oai:periodicos.ufrn.br:article-26373
record_format ojs
institution Periódicos UFRN
collection Portal de Pediódicos Eletrônicos da UFRN
language por
format Online
author Ferrari Júnior, Jair
spellingShingle Ferrari Júnior, Jair
AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
author_facet Ferrari Júnior, Jair
author_sort Ferrari Júnior, Jair
title AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
title_short AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
title_full AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
title_fullStr AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
title_full_unstemmed AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case
title_sort authorship and ethos of the street artist: the banksy case
description Abstract: Definitely conceptualizing words that represent phenomena as heterogeneous as “art”, even though it is a difficult task, is a constant issue in the debates of the human sciences. In the meantime, stereotypes appear quite naturally, especially in movements that do not figure among the more traditional media. That said, this work will demonstrate how the work of street artists can be framed in the concepts of authorship and ethos, proposed by Dominique Maingueneau in the studies of French discourse analysis. We tried to demonstrate that the presented methodological theoretical apparatus is capable of bringing non-textual statements to the discursive studies of works of art known as graffiti or street art. As a representative corpus for the analysis, two graffiti made by Banksy, one of the best-known names in the street art segment in the world, were brought. Through the theoretical frameworks of Maingueneau, it was stated that the elusive identity and without an image directly linked to a graffiti artist, even so, present an ethos, whose corporeality is manifested by the opus and the authorship is determinable by its artistic signature.
publisher Portal de Periódicos Eletrônicos da UFRN
publishDate 2021
url https://periodicos.ufrn.br/RevSaridh/article/view/26373
work_keys_str_mv AT ferrarijuniorjair authorshipandethosofthestreetartistthebanksycase
AT ferrarijuniorjair autoridadyetosdelartistacalleelcasobanksy
AT ferrarijuniorjair autoriaeethosdoartistaderuaocasobanksy
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spelling oai:periodicos.ufrn.br:article-263732024-02-21T13:20:29Z AUTHORSHIP AND ETHOS OF THE STREET ARTIST: The Banksy Case AUTORIDAD Y ETOS DEL ARTISTA CALLE: El caso Banksy Autoria e ethos do artista de rua: o caso Banksy Ferrari Júnior, Jair Ethos Autoria Arte de Rua Banksy Ethos Autorship Street art Banksy Ethos Autor Arte callejero Banksy Abstract: Definitely conceptualizing words that represent phenomena as heterogeneous as “art”, even though it is a difficult task, is a constant issue in the debates of the human sciences. In the meantime, stereotypes appear quite naturally, especially in movements that do not figure among the more traditional media. That said, this work will demonstrate how the work of street artists can be framed in the concepts of authorship and ethos, proposed by Dominique Maingueneau in the studies of French discourse analysis. We tried to demonstrate that the presented methodological theoretical apparatus is capable of bringing non-textual statements to the discursive studies of works of art known as graffiti or street art. As a representative corpus for the analysis, two graffiti made by Banksy, one of the best-known names in the street art segment in the world, were brought. Through the theoretical frameworks of Maingueneau, it was stated that the elusive identity and without an image directly linked to a graffiti artist, even so, present an ethos, whose corporeality is manifested by the opus and the authorship is determinable by its artistic signature. Resumen: Conceptualizar palabras que representen fenómenos tan heterogéneos como el “arte”, aunque sea una tarea difícil, es un tema constante en los debates de las ciencias humanas. Mientras tanto, los estereotipos aparecen con bastante naturalidad, especialmente en movimientos que no figuran entre los medios más tradicionales. Dicho esto, este trabajo demostrará cómo el trabajo de los artistas callejeros puede enmarcarse en los conceptos de autoría y ethos, propuestos por Dominique Maingueneau en los estudios de análisis del discurso francés. Intentamos demostrar que el aparato teórico metodológico presentado es capaz de traer enunciados no textuales a los estudios discursivos de obras de arte conocidas como graffiti o street art. Como corpus representativo del análisis, se trajeron dos grafitis realizados por Banksy, uno de los nombres más conocidos en el segmento del street art en el mundo. A través de los marcos teóricos de Maingueneau, se planteó que la identidad esquiva y sin imagen directamente vinculada a un grafitero, aún así, presenta un ethos, cuya corporeidad se manifiesta por el opus y la autoría es determinable por su firma artística.   Palabras clave: Ethos. Paternidad literaria. Arte callejero. Banksy. Resumo: Conceituar de forma definitiva palavras que representam fenômenos tão heterogêneos como “arte”, ainda que de difícil tarefa, é pauta constante nos debates das ciências humanas. Nesse ínterim, estereótipos surgem com certa naturalidade, especialmente em movimentos que não figuram entre os meios mais tradicionais. Isto posto, o presente trabalho demonstrará como a obra de artistas de rua poder ser enquadrados nos conceitos de autoria e ethos, propostos por Dominique Maingueneau nos estudos da análise do discurso francesa. Buscou-se demonstrar que o aparato teórico metodológico apresentado é capaz de trazer enunciados não-textuais para os estudos discursivos das obras de arte conhecidas como grafite ou street art. Como corpus representativo para a análise foram trazidos dois grafites realizados por Banksy, um dos nomes mais conhecidos do segmento de street art no mundo. Por meio da dos enquadramentos teóricos de Maingueneau, foi colocada que a identidade esquiva e sem uma imagem diretamente ligada a um artista do grafite, ainda assim, apresentam um ethos, cuja corporalidade é manifestada pelo opus e a autoria é determinável pela sua assinatura artística. Portal de Periódicos Eletrônicos da UFRN 2021-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Avaliado pelos pares application/pdf https://periodicos.ufrn.br/RevSaridh/article/view/26373 Revista Saridh – Linguagem e Discurso; v. 3 n. 2 (2021): Revista Saridh: Linguagem e Discurso; 19 2674-6131 por https://periodicos.ufrn.br/RevSaridh/article/view/26373/15058 Copyright (c) 2021 Revista Saridh – Linguagem e Discurso http://creativecommons.org/licenses/by-nc-sa/4.0

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