Racism and the Constitution of an Ideological Sign of Resistence / Racismo e a constituição de um signo ideológico de resistência

This article aims to understand the dissemination and consolidation of an ideological sign of resistance, starting with the analysis of a verbal-visual utterance, a photo reportage published in the Portuguese newspaper Expresso . That reportage, through a series of photographs and a brief text, shows a demonstration in Lisbon, in June 2020, against the murder of George Floyd, by police officers, in the USA. The Dialogical Discourse Analysis, grounded in the work of Mikhail Bakhtin and the Circle, is the theoretical and methodological basis for this article, which mobilizes the notions of ideological sign and dialogic relations. Starting with one of the photos referred to in the title of the reportage, the analysis raised meanings produced in the various axiological dialogues among spatially and temporally distinct statements, using words, images, and gestures shared during the protest demonstrations. The dialogic chains of statements show how a discourse of resistance to racism and other social inequalities is constituted, and expressed in an ideological sign.


PALAVRAS-CHAVE: Black Lives Matter; Bakhtin e o Círculo; Relações dialógicas; Valores; Signo ideológico
All content of Bakhtiniana. Revista de Estudos do Discurso is licensed under a Creative Commons attribution-type CC-BY 4.0 group, issues come to our attention: first, the broad recognition of the existence of racism by self-declared white students; second, the fact that these students' reflection (or almost no reflection) on the subject is, in general, socially stereotyped, which can be the foundation of practices and/or of racist discourses; thirdly, the little interest of the group in discussing the theme, making the authors state: "One gets the impression that whites are not interested in hearing what blacks have to say about racism" (Oliveira;Resende, 2020, p.162 Health], informed that in 2021 blacks were more than twice as likely to be murdered in the country; this group represented 78% of homicide victims (Porto, 2021). Recent crimes against blacks, victims of violence, poverty and exclusion, continue to happen day after day in Brazil and in the world. They are reported, and the perplexity in front of them often also gives way to indifference, though.
In Portugal, at the end of December 2021, UN human rights experts denounced that Afro-descendants suffer systemic racism in that country (according to Redação [Editors]. Veja, 2021). The report showed that this is largely because Portuguese society is still tied to its colonial past. Slavery, trade and trafficking of Africans are barely recognized in a "broad vision of Portuguese identity," 6 says Dominique Day, head of Grupo de Trabalho de Peritos da ONU sobre Afrodescendentes [UN Expert Working Group on Afro-Descendants] on the same subject signed by the Editors. The text also refers to major anti-racist protests that took place in Portugal in 2020, such as the one that motivated the photo reportage: Braços negros entrelaçados com braços brancos. As imagens da manifestação em Lisboa [Black Arms Intertwined with White Arms. The Images of the Demonstration in Lisbon], published on June 06, 2020 at 10h48 pm, in the Portuguese newspaper Expresso (Fernandes, 2020), presented below. As for police 5 In Portuguese: "Fica-se com a impressão de que as pessoas brancas não estão interessadas em ouvir o que as pessoas negras têm a dizer sobre racismo." 6 In Portuguese: "visão alargada da identidade portuguesa." All content of Bakhtiniana. Revista de Estudos do Discurso is licensed under a Creative Commons attribution-type CC-BY 4.0 violence, one of the most aggressive aspects of the demonstration of racism around the world, Mamadou Ba, a Portuguese-Senegalese activist, says: "When we look at police violence, we realize that there is the uniform syndrome, because most physical attacks against black people in Portugal are committed by people in uniform, whether they are police officers or security guards of private companies" 7 (according to Coutinho, 2022).
The Black Lives Matter movement emerged in the United States in 2013, organized by American activists, and was conceived as a fight for all against racism.
According to Silvana Inácio, Brazilian journalist and creator of the biweekly podcast Zumbido [Buzz] 8 -about the black universe, "Black Lives Matter gave us visibility, but our fight is much older, for existence as human beings, for the right to live and go out on the street without being shot." (Arruda, 2020) 9 On May 25, 2020, the murder of George Floyd by a police officer in Minneapolis, United States (murder caused by asphyxia), was the trigger for new waves of protest against racism around the world that were either summoned by the movement or evoked it.
The fight against racism is undoubtedly essential. Therefore, we believe it is important to retake that moment, when indignation and protests took to the streets of the whole world, in the analysis of the photo reportage published in the Portuguese newspaper Expresso shortly after that murder, in June 2020, and especially focusing on the photo that gave title to the text. Medvedev teaches us that Nor do philosophical views, beliefs, or even shifting ideological moods exist within man, in his head or in his "soul." They become ideological reality only by being realized in words, actions, clothing, manners, and organizations of people and thingsin a word: in some definite semiotic material. Though this material they become a practical part of the reality surrounding man (Bakhtin/Medvedev, 1978, p.7; emphasis added). 10 7 In Portuguese: "Quando olhamos para a violência policial, percebemos que há a síndrome da farda, porque a maioria das agressões físicas contra pessoas negras, em Portugal, são cometidas por pessoas fardadas, sejam elas policiais ou seguranças de empresas particulares." 8 In Brazilian Portuguese Zumbido means more than the buzzing sound as it contains in itself the word Zumbi, the name of a black slave who resisted slavery and built a getaway place for escaping slaves. He is considered a hero in the fight for freedom. 9 In Portuguese: "Black Lives Matter deu visibilidade, mas a nossa luta é muito mais antiga, pela existência como seres humanos, pelo direito de viver e sair na rua sem ser alvejado." 10 BAKHTIN, M. /MEDVEDEV, P. N. The Formal Method in Literary Scholarship. A Critical Introduction to Sociological Poetics. Baltimore/London: Johns Hopkins University Press, 1978Press, [1928. 5-27 All content of Bakhtiniana. Revista de Estudos do Discurso is licensed under a Creative Commons attribution-type CC-BY 4.0 By referring to words, actions, clothes, manners, organizations of people and objects, to some material in the form of a specific semiotic material, Medvedev is leading us to observe how each of those aspects points to our own conceptions of the world, beliefs and specific ideological realities. The aspects constitute themselves as ideological signs, pointing to social values of individuals socially organized in a certain sphere of human activity. Observing the multi-accentuation of ideological signs, the difference in expression and intensity in the expression of values is to observe the way in which existence reflects and refracts social reality, in an intersection of social interests: "differently oriented accents intersect in every ideological sign" (Vološinov, 2017, p.23 Circle, we state the following objectives: (1) to seek possible meanings of the photo and the photo reportage, explaining the dialogic relationships (expression of positionings) that begin in distinct times and spatialities; (2) from there, to recover discursive chains of meanings, taking into consideration that each utterance is a link in the chain of discursive communication, and so responds to previous utterances; (3) and to recognize the accentuations of the ideological signs of resistance, that is, the evaluative emphasis that accompanies them.
In the first section, the article recovers Bakhtinian notions that will be mobilized in the analysis, in theoretical and methodological terms, and, in the second, it presents the analysis itself. In the final considerations, the text shows how the paths of analysis and interpretation lead us to recognize the various modes assumed by the discourses of confrontation and resistance in response to domination, violence and power generated by racism and other inequalities and social injustices.

Ideological Sign, Dialogic Relationships and Values. Also: Methodological Notes
The Dialogical Discourse Analysis (Brait, 2006(Brait, , 2008, anchored in precepts and concepts of the work of Mikhail Bakhtin and the Circle, will be our theoreticalmethodological foundation, as previously expressed; besides it offers subsidies for the analysis of verbal-visual utterances, as Brait amply explains in various texts (among others, Brait, 2009aBrait, , 2009bBrait, , 2010Brait, , 2013. The author explains that the Bakhtinian work presents a theory of language in general, and not just a theory of verbal, oral or written language. Therefore, (...) the semiotic-philosophical-ideological perspective, precisely the one that will build what Vološinov designates as an ideological sign, (the one which) serves as a foundation for the reading of the visual, of visual culture, even though Vološinov, apparently, had not dedicated himself to image (2013, p.46; emphasis in original). 12 In this item, however, we only deal with some essential Bakhtinian concepts to be mobilized in the analysis of the photograph entitled Black Lives Matter and the photo reportage of which it is part, composed of a brief text and 12 images from the Portuguese newspaper Expresso (Fernandes, 2020a). We start with the notion of ideological sign, already mentioned above. Vološinov introduces us to this notion in the first part of Marxism and the Philosophy of Language, 13 especially in chapters 1 and 2 of Part I (1978, pp.17-44), linking it with the science of ideologies (studies on science, literature, religion, morals etc.). Throughout these two chapters, the author shows us how every sign is linked to different fields of ideological creation/creativity, as each of them has its own way of socially orienting itself in reality and refracting it. Later he adds that, although the word is the ideological sign par excellence, it is, in principle, neutral; however, it accompanies all everyday communication and all ideological communication, participating in them; thus, it can assume any value and any function in the various scientific, aesthetic, moral, religious spheres... Furthermore, Vološinov recalls that verbal discourses are accompanied by other signs, which also give/add meanings to them, such as facial 12 In Portuguese: "(...) a perspectiva semiótico-filosófica-ideológica, justamente a que vai construir o que Voloshinov designa como signo ideológico, (a que) serve de fundamento para a leitura do visual, da cultura visual, ainda que Voloshinov, aparentemente, não tenha se dedicado à imagem." 13 For reference, see footnote 11. expression, gesticulation, etc., an important issue to be observed in photography and photo reportage.
By pointing out that one of the distinctive aspects of the ideological sign is the "evaluative accentuations that accompanies all content" (1978, p.21), 14 the Russian linguist explains that such valuation is linked to the social horizon of an era and a social group, which accentuates and emphasizes those evaluative aspects in their own way, expressing values linked to each sphere of human activity. In fact, the axiological question, the way in which every utterance expresses values through its intonation, is fundamental in the work of the Circle, whether in the texts of Vološinov, Medvedev or Bakhtin. For example, when dealing with discourse in the novel, Mikhail Bakhtin states: Actual life and historical becoming create within an abstractly unitary national language a multitude of concrete worlds, a multitude of bounded verbal-ideological and social belief systems; within these various systems (identical in the abstract) are elements of language filled with various semantical and axiological content and each with its own different sound (Bakhtin, 1981, p.288;emphasis added). 15 If ideological signs sound differently in "a multitude of bounded verbalideological and social belief systems," the production of the meanings of concrete utterances -verbally, visually or verbally-visually constituted -occurs in dialogic relations with other utterances, since the dialogical orientation is constitutive of any discourse, which always meets other discourses in "a living, tension-filled interaction" (Bakhtin, 1981, p.279);16  It is the internal dialogicity of the discourse that leads to a responsive and active understanding between the partners of discursive communication: "the understanding of a sign is, after all, an act of reference between the sign apprehended and other, already known signs; in other words, understanding is a response to a sign with signs" (Vološinov, 1978, p.11;emphasis added). 18 We may also expand this concept and consider that dialogic relations are extralinguistic and can occur among texts, whole utterances, an isolated words, or any "phenomena, provided that these phenomena are expressed in some semiotic material," as we will see in the analysis of the photo; in these phenomena, it is possible to hear the others' voices, as they express positions (Bakhtin, 1984, pp.184-185). 19 The various discourses show the positions and values of the subject, a (social) voice among (social) voices, in different areas of activity, expressed in various semiotic materials.
All these notions are closely linked: if the ideological sign participates in a given sphere or field of human activity, such an ideological sphere, like every sphere, is linked to a use of language, that is, to a discourse genre: genres, as Bakhtin (2016, p.11) puts it, are as "multiform" and varied as the spheres of human activity themselves. Each of them dominates "certain definite aspects of reality. Each genre possesses definite principles of selection, definite forms of seeing and conceptualizing reality, and a definite scope and depth of penetration," in the words of Bakhtin/Medvedev (1978, p.196). 20 When dealing with genres, in the work The Formal Method in Literary Scholarship. A Critical Introduction to a Sociological Poetics (1978, pp.129-141), 21 Bakhtin/Medvedev state that genres have a two-fold orientation in reality, an external orientation, i.e.: one facing the outside, the space and real time; and an internal orientation, i.e.: another facing the interior, the thematic content: In the first place, the work is oriented toward the listener and perceiver, and toward the definite conditions of performance and perception. In the second place, the work is oriented in life, from within, one might say, by its thematic content. Every genre has its own orientation in life, with reference to its events, problems, etc. (Bakhtin/Medvedev, 1978, p.131).
That is, the external orientation of the utterance refers to listeners, conditions of realization and perception: time, space and ideological sphere defined, which is, in our case, the broader context of the photo/photo reportage, of which analysis we present below (Brait, 2012, p.15); the internal orientation, from within the utterance, is linked to the theme, composition and style (linguistic, enunciative and formal elements), which may suggest a methodology of analysis. However, both orientations are tensely articulated and interrelate intimately: between addressee and author, a relationship proper to the ideological sphere in focus is established, "which involves and constitutes the production, circulation and reception of a genre, reassuring its relationship with life..." (Brait, 2012, p.15). 22 Well observed, these teachings dialogue with the methodologically grounded order for the study of language proposed by Vološinov (1973, pp.95-96). 23 The Russian linguist says that we must start from the observation of dialogic interactions among discourses: firstly, interactions with the broader sphere in which the enunciative event is constitutedits historical, social, political, cultural and religious aspects; then the interactions with the narrower sphere, especially the genre in questionin the case of this article, a photo reportage; finally, the analysis should focus on the forms of the language (in correlation with the images, in this case), in its usual linguistic conception. In short, external and internal orientations of the utterance. This order will guide us in the analysis of the tensely articulated and intimately linked temporally and spatially interactions proposed by the photo reportage (and the selected photo).

Verbal-Visual Dialogues. The Black Lives Matter Photo
The broader context of the photo reportage was briefly presented at the beginning of the text; but we will return to it later. We will start the analysis by defining and understanding the photo reportage genre itself, of which the chosen photo is part. As part 22 In Portuguese: "que envolve e constitui a produção, circulação e recepção de um gênero, pontuando sua relação com a vida..." 23 For reference, see footnote 11. of a wholethe photo reportage Braços negros entrelaçados com braços brancos. As imagens da manifestação em Lisboa (Fernandes, 2020a), the selected photo (Figure 1) is the result of a unique discursive project that produced the newspaper story, a project signed by a historically and culturally contextualized social subject (individual or collective). In this case, the producers of the article are both the photojournalist, José Fernandes (2020b), who signs the photo reportage, and the newspaper itself, that published it. The meanings emerge not only from the dialogues that come out from this inseparable setselected photo/photos from the photo reportage/text, but also from other dialogues, as we will see later.
These concrete utterances will be analyzed as discourses, which point to the object to which they refer, to the context, and also to the discourse of the other. Let us remember that dialogic relations are the premise of discursive interaction and, although they belong to discourse, they do not belong to a purely linguistic field; hence the possibility of observing such statements from different dialogical angles that confront them, complement them, agree with them, and disagree with them or not. And they are proposed by the analyst, by the reader, by the addressee in the observation and responsive and active understanding of the utterance, in the meaning making production.
Figura 1 -Black arms intertwined with white arms. The images of the manifest in Lisbon. Photos from the Portuguese paper Expresso, on June 06, 2020 (Fernandes, 2020a) As for discourse genre, we observe that it is about photos and photo reportage from the journalistic sphere. In a preliminary definition, it would be the set of specialized Photo reportage, photojournalism in a series, is now quite common in the presentation of a report on the web, and it constitutes a resource for presenting the news that does not fit in the printed newspaper in the same way. Online material can be accessed by readers at the pace and interest that is convenient for them. Thus, the photo of the arms intertwined is the ninth of the twelve photos in a series that shows the demonstrations against racism and police violence in Lisbon. It is the ninth, but it certainly stands out in relation to the other photos as it is present in the title: Braços negros entrelaçados com braços brancos. As imagens da manifestação em Lisboa.
As we can see, the photo reportage dominates certain aspects of reality giving this reality a certain finalization in its own way: "It is the forms of the utterance, not of the language, that play the most important role in the consciousness and the comprehension of reality" (Bakhtin/Medvedev, 1978, pp.133). 26 Thus, comprehending each image is only possible by considering it as part of the whole, the concrete utterance -text and series of images. The utterance shows the way in which one orients oneself in reality, how one constitutes one's position in front of this reality, considering the 12 photos, briefly described below, and the text.
For a deeper understanding of the genre, it is important to discuss a little more about the conditions of photo reportage production, according to web data, which can be seen in Figure 02.  This necessity to capture/seduce readers leads us to observe the importance of photography, one of the ways to obtain credibility, as a "portrait" of reality. In fact, like verbal language, photography reflects and refracts reality, as any "ideological product is not itself a part of a reality (natural and social)...it also in contradistinction to these other phenomena, reflects and refracts another reality outside itself" (Vološinov, 1973, it works as a "word-slogan" (or expression-slogan) of the movement, capable of infecting a wide circle for its semantic and expressive impulse, for its axiological overtones and for its practically universal reach (Bakhtin, 1981, p.290). 29 On the web, 30 we find the way the text appears on the newspaper page: under a photo of the demonstrationphoto no. 1, which is not the one with the arms intertwined ( Figure 1)as it shows many people wearing masks carrying posters (Fernandes, 2020a).
Although the primary focus of our analysis is that photo in Figure 1, before presenting the text, we briefly describe the 12 photos, none of which are captioned. The analysis will make some references to them: (1) The photo shows part of the demonstration, with many masked protesters carrying banners. In the foreground, a black man carries a banner with the words "20 Educar" (Vim te educar [I came to educate you]); within the circle that makes up the zero number, a closed fist of fight is raised; a little behind, other banners: "Alma não tem cor" [Soul has no color]; "O racismo é educação" [Racism is education], among others; (2) The photo was deleted from the reportage; (3) The photo shows a black girl, with a microphone in her left hand, her right fist raised, and her left knee on the floor, in front of many banners and posters. Some words stand out, such as "Fim à violência policial" Above the photos, we find the following heading: Below the photos, we find the following text: About five thousand people were present this Saturday afternoon in the center of Lisbon in a demonstration against racism, against police violence -mainly on black citizens, and in favor of greater social tolerance and inclusion. There were many masks, but social distancing quickly proved impossible to maintain given the amount of people who had been present there. The death of African-American George Floyd under the knee of a policeman was just the latest news to circulate around the world, but there are many stories that remain untold. The fight -in images. 31 Even though the photo reportage may be constituted as a unique discursive project, in the analysis we need to deal with each aspect at a time, relating it to the whole.
As for the text, the first observation is the observation that it is brief and direct, as befits a photo reportage, and responds to the well-known journalistic lead: what, who, when, where, how and why. We notice that the text contains possible evaluations of the fact   , 1976 [1926]. 33 In Portuguese: "Cerca de cinco mil pessoas estiveram presentes;" "contra o racismo, contra a violência policial -principalmente sobre os cidadãos negros, e a favor de uma maior tolerância e inclusão sociais." Silvana Inácio, mentioned above, when explaining the way in which the fight takes place in Brazil: "a fight of all against racism" (Arruda, 2020; no italics in the article). 34 The addressee, that urban readership of the ABC classes, can still join the newspaper and the protesters in noticing that "The death of African-American George Floyd under the knee of a policeman was just the latest news that went around the world, but there are many stories that remain untold" (emphasis added). 35 In this excerpt, in the first sentence, the justmeaning exclusiveness is highlighted, which introduces the information that the death of George Floyd is one of many: "just the latest news to circulate around the world," 36 followed coherently by the sentence that introduces the adversative "but," of which content prevails: "but there are many stories that remain untold." 37 It is a doublevoiced discourse with a single orientation, authorthe institution newspaper and journalists, photographers, join the characters of the demonstration, they are side by side (Bakhtin, 1984, p.199). 38 The newspaper is not neutral. "The fightin images" 39 continues...
In interaction with the broad sphere in which the enunciative event is constituted, this photo reportage relates to life, listeners, addressees, readers and, in a way, to the reaction to this reception/perception, in its historical, social, political, cultural, and religious aspects... Let's see how: the article deals with the demonstrations that took place in Lisbon, after the murder of George Floyd by police, in Minneapolis, on May 25, 2020.
The moment is of the covid-19 pandemic, as both the masks in the photo and the text say: "There were many masks, but social distancing quickly proved impossible to maintain given the amount of people who had been present there." 40 In this way, we notice that the internal orientation of the utterance is tensely related to the external one: as in a dramatic performance, the characters in the photo of the "arms intertwined" harmonize and stand out for the colors they wear: the black person dresses in blackshirt and cap; white, of light colors. The background shows a part of the five thousand people reported in the text, a crowd that can be seen in the cover photo of the news, and also in several others of the 34 In Portuguese: "uma luta de todos contra o racismo" 35 In Portuguese: última notícia que correu mundo, mas há muitas histórias que continuam por contar." 36 In Portuguese: "apenas a última notícia que correu mundo." 37 In Portuguese: "há muitas histórias que continuam por contar." 38 For reference, see footnote 19. 39 In Portuguese: "A luta -em imagens." 40 In Portuguese: "Houve muitas máscaras, mas o distanciamento social rapidamente se revelou impossível de manter dada a quantidade de pessoas que acabaram por comparecer." In a globalized world, these demonstrations dialogue coherently, sharing similar values of repudiation of racism: "Social evaluation is that common denominator of the content and form of every element of the construction" (Bakhtin/Medvedev, 1978, p.140;44  kneeling, but with only one knee on the ground, the protestershere and theresymbolize compassion, solidarity and even reverence towards the other who was brutally murdered under the knees of the police. Protesters express themselves morally against racism. The raised right arm and the closed fist become symbols of the fight against the suffocation of a population that does not have their rightful space guaranteed in society.
In other words, that demonstration reported in the Portuguese newspaper is not unique, it is part of a global whole, which had different prominence in the distinct media.
The photo on the opening page of the article is not the one I selected, though. Its (...) Intonation and gesture are active and objective by tendency. They not only express the passive mental state of the speaker but also always have embedded in them a living, forceful relation with the external world and with the social milieu-enemies, friends, allies. When a person intones and gesticulates, he assumes an active social position with respect to certain specific values, and this position is conditioned by the very bases of his social being. It is precisely this objective and sociological, and not subjective and psychological, aspect of intonation and gesture that should interest theorists of the various relevant arts, inasmuch as it is here that reside forces in the arts that are responsible for aesthetic creativity and that devise and organize artistic form (1976, p.104; emphasis in original).
Observing the same gesture in other photos of demonstrations around the world, we see that there is a kind of dialogue that is not only spatial among all those protests, but also temporal; that is, it is an ideological sign that historically expresses values of resistance. The raised fist gesture was popularized during the Spanish Civil War from 1936 to 1939, when it was used by the Republican faction as a salute and was known as the "Popular Front Salute" or "Anti-Fascist Salute." This gesture can be seen in a wellknown photo of La Pasionaria (Figure 4)  The same gesture is repeated by the American runners John Carlos and Tommie Smith, when receiving the gold and bronze medals respectively at the Olympics in 49 Mexico, on October 16, 1968 ( Figure 5): 54 during the execution of the American anthem, they lower their heads and raise their fists, as a protest against racist discrimination and the absence of civil rights for all in the United States, in a "silence that becomes deafening," 55 says the article. The athletes' gesture recalled the gesture of the Black Panthers Party militants, who acted between 1966 and 1982, whose agenda was the fight for civil rights, denouncing all sorts of discrimination and police violence against blacks, and defending the self-determination of North American blacks. The photo in figure 6 shows us another aspect in the dissemination of the gesture of resistance. This is a scene in a teenager's room from a 2021 television series (Clickbait); in reality, it is just an example of how the gesture has spread, but always expressing resistance from the weakest in relation to power and domination. Other films and series have placed the gesture as a demonstration of resistance. 56   The gesture that turned out to be one of the symbols of fight against racism in the US. https://horadopovo.com.br/o-gesto-que-se-tornou-um-dos-simbolos-da-luta-contra-o-racismo-nosestados-unidos/. Other examples can also be seen in the photos in Figures 7, 8, 9 and 10, from the 2020 Retrospective held by Rede Globo de Televisão [Globo TV Network]. 57 From the knowledge acquired in these dialogues, the gesture of the photo in Expresso newspaper gains new shades of meanings -objective and sociological -enriching itself, as the arms that intertwine show the union and coherence to the already long fight in favor of social equality; and, as we have already stated, they become ideological signs of the fight against racism. The echo of past social fights against social exclusion and in favor of equality among all citizens; fights in favor of peace and against violence is heard and repeated through the gestures of fight: it is one more fight to be fought, but it is also the continuity of other fights already fought and that still need to be won. The gesture of the demonstrators kneeling on one knee with their hands raised in a fighting position becomes the ideological sign of the fight for equal rights for all, an ideological phenomenon given in "the movements of the body." (Vološinov, 1973, p.11) 58 We also draw attention to the connection between the photo in Figure 9 and that of the intertwined arms ( Figure 1): both echo Article 1 of the Universal Declaration of Human Rights (1948), especially in its beginning, "all human beings," and in the expression "spirit of brotherhood." 59 If, on the one hand, all the concrete statements that we present coherently dialogue with each other, on the other hand, they are social voices that vehemently and indignantly dialogue contrary to the situation that generated each of the demonstrations. And this reminds us of Bakhtin's words in the essay that deals with the text in linguistics, philology, and other human sciences, stating that feelings also dialogue: 60 "With respect to a person, love, hatred, pity, tenderness, and emotions in general [the indignation, we add] are always dialogic in some measure." (1986, p.113) 61 57 The photos no. 7, 8, 9 e 10 belong to the personal file of the authoress (TV). 58 For reference, see footnote 11. 59 For reference, see footnote 1. 60 For reference, see footnote 2. 61 In reality, the rejection of racism should only be rational, but at least since Aristotle (Rhetoric) we know that ethos (the character of the speaker) pathos (the emotions) and logos (the speech it demonstrated or seems to demonstrate)reason and emotion -work argumentatively in choosing positions and making decisions. The deepening of this issue, however, exceeds the limits and purposes of this article.
All content of Bakhtiniana. Revista de Estudos do Discurso is licensed under a Creative Commons attribution-type CC-BY 4.0 Finally, the social appreciation expressed in the photo reportage shows the shared character of the evaluations, corroborated by the discursive chains that we surveyed: and here we can reaffirm that the newspaper -as an institution -, and the protesters share the same evaluation, expressed in the choice of the title of the article and in the actual sense of "fight" portrayed in the twelve images of the photo report. The analysis could continue, perhaps with the proposition of new dialogues that deepen the reading of this concrete statement, as we respond to the readings with our responsive-active understanding, positioning ourselves before the other, and before society.

Final Remarks
In this text, we aimed to describe, analyze, and interpret the photo reportage of which title refers to the photo of "arms intertwined" (Figure 1), from the Portuguese newspaper Expresso, through Dialogical Discourse Analysis. Notions such as ideological signs, dialogic relationships and chains of utterances allowed us to advance in understanding the meanings of the photo and the photojournalism. Starting from the way in which the genre was organized in its internal and external orientations, the analysis allowed us to broaden the perception and understanding of texts and images, taken as discourses, which point to relevant linguistic and extralinguistic dialogic relations; and to highlight the importance of the broader and closer context in reading and understanding this material from the journalistic sphere, insofar as texts and images shed lights on the analyzed text, adding new meanings to it.
The valuations present in the utterances -photos and verbal text, were considered in the dialogical relationships that emerge from the chains of utterances raised by them.
Temporally and spatially, demonstrations around the world shared values of equality, dignity, and respect for the other; in different times and spaces, the raised fist gesture was understood as an ideological sign of the fight for equal rights for all, and especially against racism. The analysis even showed us the historicity of the resistance gesture, an ideological sign disseminated around the world at least since the Spanish Civil War.