Vozes benditas: entre o nomadismo e a performance estão os atos

• Ano de defesa: 2009
• Autor(a) principal: Sá Júnior, Lucrécio Araújo de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Linguística e ensino; Programa de Pós-Graduação em Linguística; UFPB
• Palavras-chave em Português: Linguística; Bendito; Performance; Oralidades; Nomadismo; Religiosidade Popular; Perfomance; Orality; Nomadism; Popular Religiosity; LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/tede/9891

The research for this work has remained guided by the need to develop a critical method of analysis for the collective performances, starting from a conception of language as a form of action in a specific social context. And is the search for a reflection on social interaction through the collective voices that this perspective is in Paul Zumthor and John Austin main theoretical orientation for analysis. Empirically, the approach is focused on observation of the voices that enunciate the popular religious song called Bendito. To start working hypothesis as to admit that this song and the mythic narrative had a "social-political function", given the organizational need of a people, a culture. The corpus used was constituted of field research and documentary research conducted in Brazil and Portugal. The route followed in the polls was both linguistics and anthropology at a philosophical sense: descriptive and interpretive. The data was gathered between the period October 2005 to August 2009. Referring to the performance and looking at the collections, you can say that the Bendito show within the society in which the character taking part mythic-poetic in terms of acting collectively. The results show that in situations of performance singing is a linguistic tool, designed and sought insofar as social agents put into practice his imaginary values, beliefs and interests. The survey also shows that the field of world popular religious criteria are given, not subject to a decision either institutionalized individual, but due to a shared memory, reworked, and re-signified in a constant process movence and nomadism. With the hymn to perform many different tasks, including disciplinary action (meaning of the narratives are examples). The bendito is a kind of language that is manifested in two ways: in the first dimension addresses the sacred goal of expressive clausal and second, addresses the very group: means of communication and interaction, which embeds in the narrative values, ideology and identities; processes significant to the political and social organization. Singing in a ritual performance, and interactively, is therefore an activity contextualized, situated at some point in some space, inserted in any event social, political and cultural. While action, the utterance of the blessed, in view of the interaction can be understood as a cooperative activity. An activity in which two or more persons act together for the production and interpretation of meaning (what is being stated), an intention (of what is being said in terms of mystery, referring to the sacred and political, with social references). Hence the practice of singing is in the reception. So how in this field is the justification? How to select the subjects to information from the message, the choice of the order of what they say in ritual status, adjustment of performance to the degree of formality they deserve? Who is the interpreter and how to evaluate it in relation to the listener? The notion of performance coined by Zumthor is central to the arguments outlined here, since it is constitutive of vocal production: possible mode of development and socialization of "texts". Establishing a dialogue with the end of the philosopher John L. Austin (1990), coined the theory of speech acts, the idea of "performance" allowed here assumes that the mean really "do". With the voice attitudes are built from statements. Thinking about this idea, I focussed beyond the capture and recording of "made", but the analysis of "how to do what you do", ie, the multidimensionality of the performative. The classic formulation of Austin and delineation proposed by Zumthor allowed me to formulate an idea in a place full of meanings and significances of the interaction: in addition to verbal interactions face to face interactions are the broader social, interactional process that language as media goes to the purely personal, beyond the psychological concept of self, and turns to the collective mechanisms of formation and determination of human behavior that are based on the material and ideological conditions of life in society.