Multimodality, art and transgression: meaning construction in the Mangueira school parade of 'female Jesus”: a construção de significados de 'Jesus Mulher' no desfile da Mangueira ; Mutimodalidad, arte y transgresión: la construcción de significados de “Jesus Mujer” en el desfile de Mangueira: a construção de significados de 'Jesus Mulher' no desfile da Mangueira ; Multimodalidade, arte e transgressão: a construção de significados de 'Jesus Mulher' no desfile da Mangueira

Based on the principles of Multimodality and Social Semiotics (HODGE; KRESS, 1988; KRESS, 2010; KRESS; VAN LEEUWEN, 2001; BEZEMER and KRESS, 2016), we analyze multimodal choices of two actors who took part in the Samba School Carnival parade in 2020 with a view to contributing to the construction of meanings encountered cultural-artistic manifestations of extensive, wide scope. Analysis was carried out by looking into multimodal choices in order to construct meaning i.e., (I) the Carnival planning (costumes, props and make-up) and (II) the drum section queen (her facial expressions and body movements), and analyzing how these choices can be shared with the audience that is in the event. We have noticed that meaning could be produced by means of multimodality, by considering social, cultural and historical experiences that are shared by those producing such meanings and the spectators, thus ressignifying concepts and reasoning paths, and allowing us to attain other perceptions of reality by bringing together art and multimodality ; En este artículo, fundamentados en los estudios de la Multimodalidad y de la Semiótica Social (HODGE; KRESS, 1988; KRESS, 2010; KRESS; VAN LEEUWEN, 2001; BEZEMER e KRESS, 2016), analizamos las elecciones multimodales hechas por dos actores participantes del desfile de escuela de samba en 2020, con el objetivo de comprender ¿cómo el uso de la multimodalidad contribuye para crear significados en manifestaciones artístico-culturales de gran alcance? El análisis recae sobre las elecciones multimodales que fueron hechas, (I) por el carnavalesco (trajes, aderezos, maquillaje) y (II) por la reina de la batería (expresiones faciales, movimientos corporales) para construir significado, observando como esas elecciones pueden compartidas con el público del evento. Observamos que, por la Multimodalidad, fue posible producir significados a partir del compartimiento de experiencias históricas, sociales y culturales entre los productores de significados y los espectadores, resignificando conceptos y ...