Made available in DSpace on 2016-04-28T19:34:29Z (GMT). No. of bitstreams: 1 Cristiane da Silva Ferreira.pdf: 688381 bytes, checksum: c948b24125c3d91914e8c99680cdbc3e (MD5) Previous issue date: 2008-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The real meaning of the Brazilian original country music s lyrics leads us to a culture full of traditions, habits and social values, the rural culture that comes from a mix of Indian, European and African cultures. By the lyrics discourse, we get to know also the ideology and the ethos of the country man, representing a social group that contributes to the nation s progress. This ethos is somewhat predictable, because of the memory and the stereotype our society has, regarding that country man. After these considerations, our intention with this work is to examine how the ethos, showed in those six lyrics we chose, reveals identifying and cultural aspects of the Brazilian men. According to Maingueneau (1997), the ethos is inseparable from the enunciative scene where the performance occurs. So we could conclude, in our sampling, the relation between them, because the scene is built so that it reveals the character of the performer, who has a life style similar to the author of the lyrics lifestyle. The generic and ideologic coercion within these discourses allow us to conceive the native country music as a discursive kind of music. Aiming at the above objectives, the Discourse Analysis proved to be an adequate method, because its relation with Linguistic, Psychoanalysis and History, made it possible for us to explore the language and the discourse, linking them to social-historic factors / O discurso das letras de música de raiz nos remete a uma cultura permeada de tradições, hábitos e valores sociais que resultou do hibridismo cultural indígena, europeu e africano: a cultura caipira. Por meio do discurso das letras, conhecemos, ainda, a ideologia e o ethos do homem caipira, representante de um grupo social que contribuiu para o progresso do país. Este ethos, de certa forma, nos é previsível devido à memória discursiva e aos estereótipos que permeiam a sociedade em relação ao caipira. Diante destas considerações, o que pretendemos neste trabalho é examinar como o ethos manifestado nas seis letras selecionadas nos revela aspectos identitários e culturais do homem brasileiro. Conforme postula Maingueneau (1997), o ethos discursivo é inseparável da cena enunciativa na qual ocorre a representação da enunciação. Sendo assim, pudemos concluir em nossa amostra a relação entre ambos, pois a cena é construída de modo que evidencie o caráter do enunciador que, dada a semelhança do modo de vida, representa o sujeito-autor das letras. As coerções genéricas e ideológicas nestes discursos nos permitiram conceber a música de raiz como um gênero discursivo. Tendo em vista os objetivos expostos acima, a Análise do Discurso mostrou-se uma metodologia adequada porque sua relação com a Lingüística, a Psicanálise e a História nos permitiu explorar a língua e o discurso, relacionando-os a fatores histórico-sociais

Made available in DSpace on 2016-04-28T19:34:43Z (GMT). No. of bitstreams: 1 Patricia Martins Mafra.pdf: 715169 bytes, checksum: ee51d335b2444bd4c2e7a672f628ec01 (MD5) Previous issue date: 2009-12-15 / Secretaria da Educação do Estado de São Paulo / The objective, in this research, based on the discourse analysis (DA) of French line and the directions of the semiolinguistic with observation of the research of Maingueneau (2008) and Charaudeau (2008), is to analyze the constitution of the discursive ethos of presidential pronouncements of lusophone countries Angola and Brazil, in the 1990s. Specifically, the corpuses of the research are constituted by Mr. José Eduardo dos Santos pronouncement, President of the Republic of Angola, the signing of Lusaka s agreement, in 1994 and the pronouncement of Mr. Fernando Collor de Mello, President of the Federative Republic of Brazil, the swearing in ceremony of National Congress, in 1990. Therefore, this analysis aims to identify similarities and differences of the constitution of the ethos of already mentioned discourse, from the historical and situational context, the linguistic processes and social representations concerning legitimacy, through democratic elections, the credibility and identification of the political subject. The results show that there are similarities and differences in the construction of discursive ethos of the corpuses in question, and they point out different effects of meaning in the co-enunciators / Busca-se, nesta pesquisa, com base na teoria da Análise do Discurso (AD) de linha francesa e o direcionamento da semiolinguística, com observação da pesquisa de Maingueneau (2008) e Charaudeau (2008), analisar a constituição do ethos discursivo dos pronunciamentos presidenciais dos países lusófonos Angola e Brasil, da década de 1990. Especificamente, os corpora da pesquisa são constituídos pelo pronunciamento do Senhor José Eduardo dos Santos, Presidente da República de Angola, na assinatura do Acordo de Lusaka, em 1994 e pelo pronunciamento do Senhor Fernando Collor de Mello, Presidente da República Federativa do Brasil, na cerimônia de posse no Congresso Nacional, em 1990. Para tanto, essa análise visa à identificação de semelhanças e de diferenças da constituição do ethos dos referidos discursos, a partir do contexto histórico e situacional, dos procedimentos linguísticos e das representações sociais acerca da legitimidade, por meio de eleições democráticas, da credibilidade e da identificação do sujeito político. Os resultados apontam que há semelhanças e diferenças na construção do ethos discursivo dos corpora em questão, e que as mesmas assinalam diferentes efeitos de sentido nos coenunciadores

Apontadas como as principais fontes de entretenimento e de interação social da atualidade, as redes sociais conquistaram o espaço virtual e tornaram-se ferramentas digitais propícias para a exposição de discursos capazes de atingir diversos segmentos da comunicação. Diante disso, as redes transformaram-se em campos de entrelaçamento de várias linguagens, produtoras de todos os tipos de sentido e que tendem a funcionar de acordo com os desejos e intenções daqueles que as utilizam. Fala-se então da capacidade que os usuários passam a desenvolver construindo imagens de si através dos discursos. A presente pesquisa tem por escopo investigar o ethos discursivo político na rede social Facebook, por meio de construções discursivas que realçam traços de identificação e credibilidade, utilizados para causar boa impressão e alcançar o sucesso no campo político e social. Para o desenvolvimento desse estudo situamo-nos em teoria e metodologia da Análise do Discurso francesa, focando-nos em trabalhos específicos de Maingueneau (2001/2008), Pêcheux (1997a/1997b), Charaudeau (2011), Amossy (2008) e demais autores que desenvolveram pesquisas a respeito do ethos discursivo e de seu funcionamento na construção do discurso, bem como a análises vinculadas ao campo da Comunicação, no que concerne ao estudo de redes sociais. O corpus desse trabalho será composto por dados retirados da rede FACEBOOK, de onde serão analisados segmentos discursivos que se equiparam aos objetivos já mencionados. Os resultados obtidos em torno desse processo demonstraram-nos que o que persiste nessa conjuntura é a construção de discursos em que as maneiras de ser tendem a comandar as maneiras de dizer, fazendo do ethos o instrumento que rege as interações, construídas a partir da história e atravessados por ideologias, as quais os sujeitos, em rede e fora dela, manifestam por meio de seus enunciados. / Cited as the main source of entertainment and social interaction today, social networks have conquered virtual space and have become propitious digital tools of expressive speech that are able to make use of diverse forms of communication. As such, these networks have turned into an entanglement of multiple languages, producing all kinds of sentiments and tend to operate in accordance with the wishes and intentions of those who use them. This dissertation discusses the abilities that social network users develop in order to build images of themselves using these mediums of speech. The scope of this research is to investigate the political Discursive Ethos through the social network, FACEBOOK, utilizing discursive constructions that emphasize identifying traits and credibility used to make a good impression and achieve success in political and social arenas. For the development of this study we orient ourselves using the theory and methodology of the French Discourse Analysis, focusing on the specific works of Maingueneau (2001/2008), Pêcheux (1997a/1997b), Charaudeau (2011), Amossy (2008) and other authors who have developed research on the discursive Ethos and its operation in the construction of discourse. We will also look at analyses linked to the field of communication concerning the study of social networks. The body of this work is composed of data from the network FACEBOOK, where discourses which match the objectives mentioned above will be analyzed. The results acquired through this process will demonstrate that what persists at this juncture is the fact that these constructed discourses tend to control speech patterns, making Ethos the instrument that governs our interactions, constructed from history and traversed by ideologies, the subjects in these networks and beyond, manifest themselves through the discourses of these social network users.

Thèse en cotutelle / Le genre du manifeste prend son essor dans la première moitié du XXe siècle, notamment dans le contexte des avant-gardes historiques en réaction aux nombreux bouleversements sociopolitiques et esthétiques à l’aube des deux guerres mondiales. Alors que les signataires des manifestes dits « fondateurs » des mouvements futuriste, dadaïste et surréaliste se sont vu arroger le titre de « chef de file » dans la foulée de leur publication, la faible participation des femmes dans leur élaboration est remarquable, se limitant tout au plus à une co-signature (comme dans le cas de Sophie Taeuber et du manifeste Dada-Zurich). Or, nombreuses sont les autrices et les artistes à avoir investi ce genre mêlant création et théorie dans une volonté de négocier avec la pensée dominante d’un mouvement avant-gardiste donné et – cela va sans dire – avec les conventions littéraires et esthétiques institutionnalisées. Observer leurs productions dans une approche à la fois féministe et rhétorique montre que les femmes signataires investissent singulièrement cette écriture marquée par la provocation et la violence verbale. Elles forcent ainsi la redéfinition des trois principes fondateurs du geste manifestaire : l’opposition, l’imposition et le regroupement. En résultent des programmes polémiques en réaction explicite aux manifestes officiels ainsi qu’à d’autres consacrés à la défense et à l’illustration d’une pensée artistique qui se veut plus indépendante des textes signés par des hommes. En se mettant elles-mêmes en scène, les créatrices incarnent des positions de dissociation par rapport à certaines idées, valeurs ou pratiques scripturaires et artistiques défendues plus largement dans l’un ou l’autre des mouvements. Dès lors, le manifeste devient le lieu d’une réelle performance de soi rendant possible l’appropriation par les femmes de ce genre historiquement investi par les hommes pour l’adapter à un discours qui s’inscrit dans une marginalité complète. / The genre of the manifesto is linked to the cultural history of the first half of the 20th century with the historical avant-gardes, in reaction to the numerous socio-political and aesthetic upheavals at the dawn of the two world wars. While the signatories of the so-called « founding » manifestos of the Futurist, Dada and Surrealist movements were given the title of « chef de file » in the wake of their publication, the low level of participation by women in their elaboration is remarkable, limited at most to a co-signature (such as Sophie Taeuber with the Dada-Zurich manifesto). Yet many female authors and artists have taken up this genre, which combines creation and theory, in a desire to negotiate with the dominant thought of a given avant-garde movement and – it goes without saying – with institutionalized literary and aesthetic conventions. Observing their productions from both a feminist and a rhetorical perspective shows that the women signatories are singularly invested in this form of writing marked by provocation and verbal violence. In doing so, they force a redefinition of the three founding principles of the manifesto gesture: opposition, coercion and grouping. The result is polemical programs in explicit reaction to official manifestos, as well as others devoted to the defense and illustration of an artistic thought more independent of texts signed by men. By putting themselves on stage, women creators embody positions of dissociation from certain ideas, values or scriptural and artistic practices defended more broadly in one or other of the movements. From then on, the manifesto becomes the site of a real self-performance, making it possible for women to appropriate a genre historically invested by men and adapt it to a discourse that is completely marginal.