"Aos bohêmios como eu": apontamentos para uma abordagem semiótica da dicção de Ramos Cotoco

• Ano de defesa: 2022
• Autor(a) principal: Fonseca, Alef James Braga
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Semiótica; Canção; Ramos Cotoco; Identidade; Dicção
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/67465

The text presented here consists of a theoretical and analytical approach towards the recognition of the peculiar traits of Ramos Cotoco's song identity, also treated in terms of a diction of this subject, a set of procedures discursive and textual that account for the identity characteristics of a semiotic subject inscribed in a discursive totality, notably his literary-musical work closed in Cantares Bohêmios ([1906] 2006). Based on the theoretical assumptions of discursive semiotics of French origin, or simply Semiotics, making special use of the contributions of Greimas and Courtés (2013), Landowski (2012), Fontanille and Zilberberg (2001), Zilberberg (2011), and the entire bibliography concerning Luiz Tatit's formulations about the Semiotics of Song, in addition to contributions from music theorists such as Schoenberg (2011), Caplin (2013) and Koellreutter (2018), we offer in this work some theoretical reflections on the modes of identity construction in the song texts, and also some analytical notes on the song “Não faz mal”, by Ramos Cotoco, about the original lyrics and musicography, and two sung versions, namely, the recording by Mário Pinheiro (1908) and the recording of the group from Fortaleza, which we refer to as Grupo Cantares, on the album “Cantares Bohêmios: Ramos Cotôco” (2006). As a result, we believe, based on what we pointed out in the analysis (of the lyrics, the musicography and the versions) that it is possible to assume that, in this song, Ramos Cotoco manifests as a discursive identity a self-image of a critical subject of social behaviors, and which carries in this ethos the humorous tone, especially marked by the construction of very ingenious processes of irony. It is a first descriptive effort in order to offer researchers interested in the subject a look at the ways in which meaning is constructed in an object-song by Ramos Cotoco in order to contribute, with the help of theories of language, with investigations into the songwriter's identity, which until then has been modestly addressed in academic texts, in order to expand the fair recognition of the compositional inventiveness of a legitimate artist from Ceará.