Ethos discursivo e gênero canção : a construção das imagens de si e do outro nas canções de os afro-sambas

• Ano de defesa: 2013
• Autor(a) principal: Nogueira, Mayara de Oliveira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Mestrado em Estudos Linguísticos; UFES; Programa de Pós-Graduação em Linguística
• Palavras-chave em Português: Moraes, Vinicius de, 1913-1980. Os afro-sambas; Powell, Baden, 1937-2000. Os afro-sambas; Análise do discurso; Música popular - Brasil; Canções; Ethos; Os afro-sambas; Gênero canção; Interdiscurso; Cenas enunciativas; Ethos discursivo; Linguística; 80
• Link de acesso: http://repositorio.ufes.br/handle/10/1665

This dissertation aims to discuss the constitution of the discursive ethos, relating that to the enunciation scenes and to the interdiscourse, in eight “afrosambas” which belong to the LP of the same name, as a result of the partnership between Vinícius de Moraes and Baden Powell in the 1960s. Such songs present in common the cult of mystical entities related to the religions of African roots, and, in particular way, they display love, sadness in different features. In order to do so, the paradigm in which we are sustained is the one of the French Discourse Analysis, in an approach which is aligned with the Mainguenau’s one (1977, 2005, 2007). We decided to work with this theoretical framework in that such approach corresponds to a methodology of studying the discourse which considers the socio-historical conditions which made it possible, the baseline premise of the present research, which has as a main objective: observe how the ethos/ ethés are built; analyze the songs of the 1996 LP composed by the musicians, having the notions of interdiscourse, enunciation scenes and discursive ethos as the basis of the analysis. From the analysis of each afro- samba, the results point to a construction of images shed in the discourse closely linked not only to the cultural/ diasporic universe of the black people but also to the loving universe typically from Vinícius de Moraes. Considering the interdiscursive signs, it is possible to realize that the afrosambas were built from the existence and the recognition of the Other. On the other hand, the enunciation scenes which were built present as a privileged discourse field the religious domain from an loving sensual experience, whose pitiful tone contributed to the construction of a sad, melancholic, sentimental enunciator.