Semiotic Readings, <i>Postales De Orán</i> of Oran by Joel Jover and <i>La Peste</i> of Albertle Camus

The present investigation develops an unprecedented way a semiotic perspective study of the series <i>Postales de Orán</i> the Cuban Visual Artist Joel Jover. This series means the first point of aesthetic turn within the whole of its previous work. The repercussion of it has exceeded national borders. Carried out in the context of a socially and economically convulsed period of the country and therefore of the author. After the fall of the socialist field in Eastern Europe in 1989, the social and political economic repercussions in the Cuban people began to feel in the nineties, it was defined as a special period. The context of realization will ponder the relevance of the series among other indices such as the references manifest to the hypotextext the novel <i>La peste</i> of Albert Camus. The author of the present investigation conducted the master's thesis in Latin American culture intithulated, <i>Estudio semiótico de la serie Postales de Orán de Joel Jover</i>. From this antecedent it is necessary as a general objective: to conduct a study by the series Postcards of Oran from a semiotic perspective for an interdiscursive, intratextual and intratextual knowledge of the imaginary universe. <i>The methodology</i> used is the text analysis. The work as text expands until it encompasses the vastness of its interrelationships with other texts, in the particular case of the study object predominates the text of Camus, <i>La peste</i>. The creation and interpretation are impelled and at the same time enriched by the universe of the discourse established by the previous texts of the author and who interprets (co-creator). Other specific intertexts have been selected in addition to the novel, such as the signs of Greco-Roan, Jewish, Russian, a holistic textual universe to enrich the analytical interpretation of the series. So that the theory of complex systems is also an analysis platform when reading the series as a textual system. In this sense, each pictorial work is seen as the manifestation of underlying processes. Likewise, it is emphasized in the analysis of the NO series as a static system closed abroad, always containing the same components, on the contrary, as an open system in a stable state (quasi) in which matter continuously enters from, and leaves towards the external environment.