Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves
Autor(a) principal: | |
---|---|
Data de Publicação: | 2013 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da Universidade Federal do Espírito Santo (riUfes) |
Texto Completo: | http://repositorio.ufes.br/handle/10/1440 |
Resumo: | This research aims to show how the religious discourse of the preach genre, in the voice of the enunciator Brother Gregório José Maria de Bene, can influence the convincing strategy for the adherence of the slaves from the region of Serra, in the province of Espírito Santo, Brazil, to the construction of the Queimado church. The preach cited is the fundamental exert from the literary discourse O Templo e a Forca (1999), recreated by Luiz Guilherme Santos Neves, analyzed after a comprehensive scene that legitimates it as such. This work is situated in French-line Discourse Analysis’ (DA’s) studies, having Dominique Maingueneau as its main theoretical reference, which is to orient us about the scenographies provided by the priest, his image of enunciator, the conditions of the preach production, highlighting the interacting elements in the confrontation to aim at the epoch’s social conditions and at the cultural issues of the involved in the unchaining of the revolt. The main purpose was to assess the enunciation scenes and how the religious ethos is constructed in each scene with its several functions. It is common-sense to say that the religious element reconstructs itself every moment since the commitment with the communication situations. For a better understanding, we might say that those various reconstructions represent, amidst the discourses, different religious scenes, with their adherence strategies: one, that speaks in the name of God, praising the peacefulness of the country life under the shadow of the giant andirobeiras, where one can feel the silence that invites to contemplation and prayer; another one, is committed to its own selfish purposes. It speaks not to be understood, and what counts is to raise the Saint Joseph’s house, without sparing flesh and blood from the deaths to come. It is worth stressing that a naïve look is always possible over a religious text, which, according to Maingueneau (2010), is only readable associated to a vast intertext, which in turn contributes to structure the discourse. In order to enrich even more this study, we use not only the preach genre, but other approaches structuring Neves’ discourse and indicating the many-fold scenographies and their constitution as genres: Inner dialogue – solitary moments of the Brother – the Brother’s vision, and Monologue; Shared Dialogue – segmented dialogues between the enunciator and his several co-enunciators, who structure the facts reported in the discourse; and the genre exhortation addressed from the priest to the slaves. All those parts transmit moments of great conflicts recreated by the author, in a light discourse taking its reader enjoyably along its diversified images. Remember that the reader is led to believe it was all about the comic genre. And perhaps it would have been, if only it did not end up in revolt. |
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Nascimento, Jarbas VargasMenezes, Rita de Cássia dos SantosAbrahão, Virgínia Beatriz BaesseCano, Marcio Rogério de Oliveira2015-08-11T21:45:35Z2016-06-24T06:00:06Z2013-12-162013-12-16This research aims to show how the religious discourse of the preach genre, in the voice of the enunciator Brother Gregório José Maria de Bene, can influence the convincing strategy for the adherence of the slaves from the region of Serra, in the province of Espírito Santo, Brazil, to the construction of the Queimado church. The preach cited is the fundamental exert from the literary discourse O Templo e a Forca (1999), recreated by Luiz Guilherme Santos Neves, analyzed after a comprehensive scene that legitimates it as such. This work is situated in French-line Discourse Analysis’ (DA’s) studies, having Dominique Maingueneau as its main theoretical reference, which is to orient us about the scenographies provided by the priest, his image of enunciator, the conditions of the preach production, highlighting the interacting elements in the confrontation to aim at the epoch’s social conditions and at the cultural issues of the involved in the unchaining of the revolt. The main purpose was to assess the enunciation scenes and how the religious ethos is constructed in each scene with its several functions. It is common-sense to say that the religious element reconstructs itself every moment since the commitment with the communication situations. For a better understanding, we might say that those various reconstructions represent, amidst the discourses, different religious scenes, with their adherence strategies: one, that speaks in the name of God, praising the peacefulness of the country life under the shadow of the giant andirobeiras, where one can feel the silence that invites to contemplation and prayer; another one, is committed to its own selfish purposes. It speaks not to be understood, and what counts is to raise the Saint Joseph’s house, without sparing flesh and blood from the deaths to come. It is worth stressing that a naïve look is always possible over a religious text, which, according to Maingueneau (2010), is only readable associated to a vast intertext, which in turn contributes to structure the discourse. In order to enrich even more this study, we use not only the preach genre, but other approaches structuring Neves’ discourse and indicating the many-fold scenographies and their constitution as genres: Inner dialogue – solitary moments of the Brother – the Brother’s vision, and Monologue; Shared Dialogue – segmented dialogues between the enunciator and his several co-enunciators, who structure the facts reported in the discourse; and the genre exhortation addressed from the priest to the slaves. All those parts transmit moments of great conflicts recreated by the author, in a light discourse taking its reader enjoyably along its diversified images. Remember that the reader is led to believe it was all about the comic genre. And perhaps it would have been, if only it did not end up in revolt.A pesquisa busca mostrar como o discurso religioso do gênero sermão, na voz do enunciador Frei Gregório José Maria de Bene, pode influir na estratégia de adesão e convencimento dos escravos da região de Serra, província do Espírito Santo, para a construção da igreja do Queimado. O sermão citado é o recorte fundamental do discurso literário O Templo e a Forca (1999), recriado por Luiz Guilherme Santos Neves, analisado a partir de cena englobante legitimadora. O trabalho insere-se nos estudos da Analise do Discurso (AD) de linha francesa, pelo referencial teórico de Dominique Maingueneau, que nos orientará quanto às cenografias do padre, sua imagem de enunciador, as condições de produção do sermão, ressaltando elementos que interagem no embate, visando à sociedade da época e às questões culturais dos envolvidos na eclosão da revolta. O principal objetivo é examinar as cenas de enunciação e como se constrói o ethos religioso em cada cena e suas variadas funções. É elementar dizer que o religioso se reconstrói a cada momento a partir do comprometimento com as situações de comunicação. Para maior entendi-mento, dizemos que essas diversas reconstruções apresentam nos discursos diferentes encenações desse tão fomentado religioso com suas estratégias de adesão, apresentando-se ora com a imagem daquele que fala em nome de Deus, preza a docilidade da vida do campo à sombra das andirobeiras gigantes onde se pode sentir o silêncio que convida à contemplação e à prece; ora aquele comprometido com seus propósitos interesseiros e pessoais. Fala para não ser entendido, e o que vale é erguer a casa de São José sem poupar a carne e o sangue das mortes que virão. Importa ressaltar que sempre há possibilidade de olhar ingênuo sobre texto religioso, que, conforme Main-gueneau (2010), só é legível relacionado a vasto intertexto que contribuirá para estruturar o discurso. Para enriquecer ainda mais este estudo, afora o gênero sermão usamos recortes que estruturam o discurso de Neves e sinalizam as variadas cenografias e a forma como se constituem enquanto gêneros: Diálogo interior – momentos solitários do frade – Visão do frade e Monólogo; Diálogo Compartilhado – segmenta diálogos entre o enunciador e seus vários co-enunciadores, que estruturam os acontecimentos do discurso; e o gênero exortação, do padre aos escravos. Os recortes são momentos de grandes embates recriados pelo autor, em discurso leve fazendo seu leitor transitar prazerosamente junto ao frade entre as suas variadas imagens nos discursos. Levando o leitor a acreditar tratar-se de cenas relacionadas ao gênero cômico. E talvez o fosse, se não terminasse em revolta.Texthttp://repositorio.ufes.br/handle/10/1440porUniversidade Federal do Espírito SantoMestrado em Estudos LinguísticosPrograma de Pós-Graduação em LinguísticaUFESBRNeves, Luiz Guilherme Santos, 1933- - Crítica e interpretaçãoAnálise do discursoLinguística - História e críticaLinguística80Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Nevesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da Universidade Federal do Espírito Santo (riUfes)instname:Universidade Federal do Espírito Santo (UFES)instacron:UFESORIGINALOs gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves.pdfOs gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves.pdfapplication/pdf1007561http://repositorio.ufes.br/bitstreams/82ba1fdb-06b3-4a68-8a0e-b46af17442ce/download11648fd9063fa83127387b8c1709df08MD51CC-LICENSElicense_urllicense_urltext/plain; charset=utf-849http://repositorio.ufes.br/bitstreams/73cc207e-3203-48ad-966f-1aac6f912b22/download4afdbb8c545fd630ea7db775da747b2fMD52license_textlicense_texttext/html; charset=utf-822762http://repositorio.ufes.br/bitstreams/fd988a8d-57ce-4155-8703-02f2365a580c/downloadfda13080e892f3f68def2b8b70227968MD53license_rdflicense_rdfapplication/rdf+xml; charset=utf-823148http://repositorio.ufes.br/bitstreams/7cb14b62-57f6-471c-ad7b-261edc53c0da/download9da0b6dfac957114c6a7714714b86306MD54LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.ufes.br/bitstreams/430fef81-5c56-4cb4-95a4-b91653967d42/download8a4605be74aa9ea9d79846c1fba20a33MD5510/14402024-07-01 20:21:06.802oai:repositorio.ufes.br:10/1440http://repositorio.ufes.brRepositório InstitucionalPUBhttp://repositorio.ufes.br/oai/requestopendoar:21082024-07-01T20:21:06Repositório Institucional da Universidade Federal do Espírito Santo (riUfes) - Universidade Federal do Espírito Santo (UFES)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 |
dc.title.none.fl_str_mv |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
title |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
spellingShingle |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves Menezes, Rita de Cássia dos Santos Linguística Neves, Luiz Guilherme Santos, 1933- - Crítica e interpretação Análise do discurso Linguística - História e crítica 80 |
title_short |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
title_full |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
title_fullStr |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
title_full_unstemmed |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
title_sort |
Os gêneros de discurso, cenografia e ethos em discursos da obra O templo e a forca de Luiz Guilherme Santos Neves |
author |
Menezes, Rita de Cássia dos Santos |
author_facet |
Menezes, Rita de Cássia dos Santos |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Nascimento, Jarbas Vargas |
dc.contributor.author.fl_str_mv |
Menezes, Rita de Cássia dos Santos |
dc.contributor.referee1.fl_str_mv |
Abrahão, Virgínia Beatriz Baesse |
dc.contributor.referee2.fl_str_mv |
Cano, Marcio Rogério de Oliveira |
contributor_str_mv |
Nascimento, Jarbas Vargas Abrahão, Virgínia Beatriz Baesse Cano, Marcio Rogério de Oliveira |
dc.subject.cnpq.fl_str_mv |
Linguística |
topic |
Linguística Neves, Luiz Guilherme Santos, 1933- - Crítica e interpretação Análise do discurso Linguística - História e crítica 80 |
dc.subject.br-rjbn.none.fl_str_mv |
Neves, Luiz Guilherme Santos, 1933- - Crítica e interpretação Análise do discurso Linguística - História e crítica |
dc.subject.udc.none.fl_str_mv |
80 |
description |
This research aims to show how the religious discourse of the preach genre, in the voice of the enunciator Brother Gregório José Maria de Bene, can influence the convincing strategy for the adherence of the slaves from the region of Serra, in the province of Espírito Santo, Brazil, to the construction of the Queimado church. The preach cited is the fundamental exert from the literary discourse O Templo e a Forca (1999), recreated by Luiz Guilherme Santos Neves, analyzed after a comprehensive scene that legitimates it as such. This work is situated in French-line Discourse Analysis’ (DA’s) studies, having Dominique Maingueneau as its main theoretical reference, which is to orient us about the scenographies provided by the priest, his image of enunciator, the conditions of the preach production, highlighting the interacting elements in the confrontation to aim at the epoch’s social conditions and at the cultural issues of the involved in the unchaining of the revolt. The main purpose was to assess the enunciation scenes and how the religious ethos is constructed in each scene with its several functions. It is common-sense to say that the religious element reconstructs itself every moment since the commitment with the communication situations. For a better understanding, we might say that those various reconstructions represent, amidst the discourses, different religious scenes, with their adherence strategies: one, that speaks in the name of God, praising the peacefulness of the country life under the shadow of the giant andirobeiras, where one can feel the silence that invites to contemplation and prayer; another one, is committed to its own selfish purposes. It speaks not to be understood, and what counts is to raise the Saint Joseph’s house, without sparing flesh and blood from the deaths to come. It is worth stressing that a naïve look is always possible over a religious text, which, according to Maingueneau (2010), is only readable associated to a vast intertext, which in turn contributes to structure the discourse. In order to enrich even more this study, we use not only the preach genre, but other approaches structuring Neves’ discourse and indicating the many-fold scenographies and their constitution as genres: Inner dialogue – solitary moments of the Brother – the Brother’s vision, and Monologue; Shared Dialogue – segmented dialogues between the enunciator and his several co-enunciators, who structure the facts reported in the discourse; and the genre exhortation addressed from the priest to the slaves. All those parts transmit moments of great conflicts recreated by the author, in a light discourse taking its reader enjoyably along its diversified images. Remember that the reader is led to believe it was all about the comic genre. And perhaps it would have been, if only it did not end up in revolt. |
publishDate |
2013 |
dc.date.submitted.none.fl_str_mv |
2013-12-16 |
dc.date.issued.fl_str_mv |
2013-12-16 |
dc.date.accessioned.fl_str_mv |
2015-08-11T21:45:35Z |
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2016-06-24T06:00:06Z |
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http://repositorio.ufes.br/handle/10/1440 |
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Universidade Federal do Espírito Santo Mestrado em Estudos Linguísticos |
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Programa de Pós-Graduação em Linguística |
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UFES |
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BR |
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Universidade Federal do Espírito Santo Mestrado em Estudos Linguísticos |
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