Epistemological Prosodization: the musical influence of Gisèle Brelet on Claude Zilberberg's tensive semiotics

• Grant number: 23/07849-3
• Support Opportunities: Scholarships in Brazil - Post-Doctoral
• Start date: April 01, 2024
• End date: March 31, 2026
• Field of knowledge: Linguistics, Literature and Arts - Linguistics
• Principal Investigator: Luiz Augusto de Moraes Tatit
• Grantee: Gustavo Cardoso Bonin
• Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
• Associated scholarship(s): 25/05119-3 - An Illustrious Unknown: Gisèle Brelet's Academic Research, BE.EP.PD

Abstract

The present project seeks to produce a set of academic products that aim to solidify the theoretical and methodological bases of what can be understood as epistemological prosodization (TATIT, 2019). Building on the musical influence that the French aestheticist and musicologist Gisèle Brelet (1915-1973) exerted on the consolidation of Claude Zilberberg's (1938-2018) tensive semiotics, we want to explicit the vast amplitude that the tensive methodology presents when serving as a model to analyze the sensitive aspects that are part of the meaning construction in verbal, non-verbal and syncretic (or multimodal) objects, whether they are artistic, media or scientific productions. The work will be conducted on two research fronts: i) diffusion and rediscovery of the forgotten production of Gisèle Brelet, to be materialized with the translation into Portuguese of two basilar essays of the author (BRELET, 1946 and 1965) and also with the publication of an original article in English that contemplates a short panorama of her life and work; ii) research to investigate and make explicit the links between the thoughts of Brelet and Zilberberg in an article in Portuguese, to be also translated into French, aiming to present the methodological paths that justify the proposal of a possible epistemological prosodization. In order to bring to light the veiled importance of Gisèle Brelet's proposals, given that it is necessary to point out how her ideas have influenced or are cited by renowned authors of Musicology and Music Creation, such as Walter Wiora, Andrès Briner Ivo Supii, Susanne Langer, Robert Craft, Igor Stravinsky, Edward Lippman, Oliver Messiaen and Enrico Fubini, we want to continue and further unfold her methodological proposals, relying on the semiotics ideas of one of her best readers, Claude Zilberberg.