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The purpose of this article is to analyze the signifying materiality of the body in protests scenes in the discursive imbrication of the political in the borders with the social. The theoretical and analytical perspective taken is based on the historical-materialism from the Discourse Analysis of the French line to help in the comprehension of the materiality of body in protests in its relation with history, ideology, memory and discourse. In this sense, the intention is to focus on a specific work by the Zimbabwean artist Dan Halter, considering the meaning effects that slide metaphorically and metonymically to other senses of the body that unfold in different images of the subject (LAGAZZI, 2014a) and help to understand the resistance-revolt-revolution process of the ideological and political class struggle (PÊCHEUX, 1982 [1975]), especially in those processes of tensivity of the social from the spaces occupied by the bodies and crossed by the symbolic, by the ideology and by the history.

The Signifying Materiality of the Body (in Protests) in the Imbrication of Ideology, History and Discourse