Interfaces semióticas com o imaginário durandiano na contística de Edgar A. Poe

Abstract

It is observed among Edgar Allan Poe's storytelling, especially in the tales “The Oval Portrait” (2001), “Berenice” (2001) and “Morela” (2001), that there is an approximation of the characters with the types of violence that lead to death, thanks to the literary and linguistic resources used in the composition of texts, the choices of symbolic images and the narrative strategies used by Poe. From this, we investigate in this work how the meaning of the selected tales is organized, through the description and formalization of their semiotic structures, namely: fundamental, narrative and discursive. Moreover, under the assumption that the use of the adjective is pertinent to characterize narrative and imaginary differences in literary texts, we will examine the manifestations of daytime symbol images that characterize Edgarian tales and are revealed by antitheses. Therefore, the objective is to proceed to the semiotic analysis of Edgar A. Poe's accountancy, as well as to perceive the representation of death together with the symbolic images of the Imaginary Daytime Regime. The linguistic theoretical basis of examination is the theory of AJ Greimas, for whom it is up to the semiotician to articulate the sensitive-expressive dimensions (linguistic practice) with the intelligible-content (discursive - and symbolic) values of a textuality in order to describe its meaning, or rather its significance. With regard to the study of symbolic images, G. Durand's postulates follow, because, for him, the way of operationalizing the images created by the imagination constitutes an imaginary. Based on a methodology in which the narrativity of discourse is analyzed from the point of view of the articulation of syntactic-semantic structures with those of the imaginary, the analysis process was conducted analogously, thus determining a qualitative approach, directed to semi-linguistic reflections, anthropological and literary.