O heterodiscurso na encenação futurista lusíadas 2500, de Lailson de Holanda Cavalcanti.

• Ano de defesa: 2019
• Autor(a) principal: Amorim, Ana Márcia Braga de
• Orientador(a): Gomes, Robson Teles
• Banca de defesa: Caiado, Roberta Varginha Ramos, Ferreira, Ermelinda Maria Araújo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Católica de Pernambuco
• Programa de Pós-Graduação: Mestrado em Ciências da Linguagem
• Departamento: Departamento de Pós-Graduação
• País: Brasil
• Palavras-chave em Português: Dissertações; Análise do discurso; Identidade social; Linguagem e línguas; Histórias em quadrinhos
• Palavras-chave em Inglês: Dissertations; Speech analysis; social identity; language and languages; Comics
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES
• Link de acesso: http://tede2.unicap.br:8080/handle/tede/1696

The study upon the heterodiscourse is relevant to the comprehension of the Comics discursive genre in the futuristic setting framework which composes Lusíadas 2500 of Lailson de Holanda Cavalcanti. The author has transposed his work from the classic epic Os Lusíadas, from Luís de Camões. The discourses of these authors, as well as those of their characters, are elements that construct an ideology, and thus reveal their social position through the contextualized resonance of voices. In this discursive perspective of language, the understanding of the work passes by the verbal sign of the title, the letter written by KMOS1572, the subtitles that contain the poem of Camões, the speech balloons that contemplate the insertion of the discourse proposed by Cavalcanti and finally the non-verbal sign from the representation of the characters and of the settings. Therefore, those signs transpose the original work from 1572 to a futuristic context at the year of 2500, which reflects and refracts the story of the Portuguese society and the journey to Indies of Vasco da Gama. For the development of this research, we have based our discussion in the theoretical assumptions of the Dialogic Theory of the Discourse according to Bakhtin, Jakubinskij, Medviédev, Volóchinov, and also those of the sequencial art language based on McCloud , Eisner, Cagnin, Groensteen, Ramos and Barbieri. The present paper proposes the analysis of the Canto I in the intent of understanding the heterodiscourse applied in a structure that combines verbal and visual signs. This hybrid structure is characteristic of sequential narratives as Lusíadas 2500.