Abstract In this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images.

中文翻译：

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图片表达计划：支持与认可的Quelquesréflexions

摘要在本文中，我们计划重新讨论在图像的符号学研究中发现的表达平面实质的概念，以及该概念如何与目的和形式的概念相关联。本文分为三个部分：第一部分简要介绍了在基于Greimassian符号学和Groupeμ修辞学的图像分析中（或从中排除）物质的各种方式的历史。第二部分借鉴了雅克·丰塔尼耶（Jacques Fontanille）的实践符号学和让·弗朗索瓦·博德隆（Jean-FrançoisBordron）的象似性理论，这些提议旨在通过支持，应用的观念，试图解决在艺术作品（以及书面作品）中赋予实质性的“时刻”。 ，以及题字的手势动作。