Abstract
Resumo: The objective of this article is to outline a discursive ethos profile from the meaning effects instituted by linguistic elements in two songs by the Brazilian singer, violinist and songwriter Nando Reis. For this purpose, two of the singer’s musical career albums were selected, being one from his career in the group Titãs and the other from his solo career. Subsequently, one song was randomly selected from each album and the linguistic mechanisms that possibly enhanced the speaker’s self-image construction were identified and analyzed. Finally, the discursive ethos profile that emerges from linguistic materialities was interpreted. In order to achieve such objective, the theoretical assumptions from the Linguistics of Enunciation were used as basis, mainly from Émile Benveniste’s theory and his definitions of “language”, “enunciation” and “subjectivity”. Moreover, other theoretical branches were adopted for the concept of ethos, from the Discourse Analysis perspective, by Dominique Maingueneau (2005) and debreagem, from Semiotics, by Greimas e Courtés (2008). To support the methodological parameter, Carlo Guinzburg’s (1989) indiciary paradigm was used. Lastly, enunciative matters were reflected upon, from the analysis of meaning production instituted by linguistic elements in the analyzed songs.Palavras-chave: ethos discursivo; enunciação; produção de sentidos.Abstract: The objective of this article is to outline a discursive ethos profile from the meaning effects instituted by linguistic elements in two songs by the Brazilian singer, violinist and songwriter Nando Reis. For this purpose, two of the singer’s musical career albums were selected, being one from his career in the group Titãs and the other from his solo career. Subsequently, one song was randomly selected from each album and the linguistic mechanisms that, possibly, collaborated for the speaker’s self-image construction were identified and analyzed. Finally, the discursive ethos profile that emerges from the linguistic materialities was interpreted. In order to achieve such objective, the theoretical assumptions from the Linguistics of Enunciation were used as basis, mainly from Émile Benveniste’s theory and his definitions for “language”, “enunciation” and “subjectivity”. Moreover, other theoretical branches were adopted for the concept of ethos, from the Discourse Analysis perspective, by Dominique Maingueneau (2005) and debreagem, from Semiotics, by Greimas e Courtés (2008). To support the methodological parameter, Carlo Guinzburg’s (1989) indiciary paradigm was used. Lastly, enunciative matters were reflected upon, from the analysis of meaning production instituted by linguistic elements in the analyzed songs.Keywords: discursive ethos; enunciation; meaning production.
Highlights
O que eu sinto é só meu ou também pertence ao sentimento do outro? Em uma realidade caracterizada por movimentos egocêntricos e narcisistas, mas com rupturas e resistências que se refletem a determinadas posições empáticas e solidárias, as sociedades atuais corporificam esse jogo de forças nas mais diversas formas de ações, de discursos e de posturas
Ao considerar que a lingua(gem) é intrínseca à natureza humana e que, ao mesmo tempo, “ela constitui justamente o produto da interação do locutor e do ouvinte”, uma vez que “toda palavra serve de expressão a um em relação ao outro” (BAKHTIN, 2006, p. 117), podemos deduzir que, em qualquer circunstância, mesmo quando se refere à si e ao mundo interior, o homem acaba tratando do outro; indo ao encontro do outro, para poder compreender os próprios sentimentos e contradições
Por meio dos mecanismos linguísticos, é viável notar diversos efeitos de sentido, entre eles, a construção de um ethos que, no caso das composições de Nando Reis, é de tendência resiliente
Summary
Resumo: Objetiva-se com este artigo esboçar um perfil de ethos discursivo a partir dos efeitos de sentidos instaurados por elementos linguísticos em duas músicas do cantor, violinista e compositor brasileiro, Nando Reis. Escolheu-se, aleatoriamente, uma canção de cada álbum, identificaram-se e analisaram-se os mecanismos linguísticos que, possivelmente, colaboram para a construção de uma imagem de si do locutor das letras das músicas. Traçou-se um esboço do ethos discursivo que emerge das materialidades linguísticas. Embasou-se nos pressupostos teóricos da Linguística da Enunciação, principalmente na Teoria Enunciativa de Émile Benveniste e em suas postulações sobre “língua”, “linguagem”, “enunciação” e “subjetividade”. Finalmente, refletiu-se sobre questões de ordem enunciativa, a partir da análise da produção de sentidos instaurados por elementos linguísticos na materialidade analisada. Palavras-chave: ethos discursivo; enunciação; produção de sentidos
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