A intertextualidade como estratégia argumentativa : as imagens discursivas dos realizadores do 1º Festival do M1nuto da UFS

• Autor(a) principal: Santana, Flávio Passos
• Data de Publicação: 2022
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFS
• Texto Completo: http://ri.ufs.br/jspui/handle/riufs/16261
• topic: Intertextualidade; Curta-metragem; Retórica; Ethos; Estratégia argumentativa; Festival do M1nuto; Short film; Intertextuality; Argumentative strategy; Cortometraje; Intertextualidad; Estrategia agumentativa; Court métrage; Intertextualité; Stratégie argumentativa; LINGUISTICA, LETRAS E ARTES::LETRAS

The main objective of this work is to investigate how intertextuality can be used as an argumentative strategy for the construction of the ethos/discursive images of the directors of the 1st Festival do M1NUTO, whose theme was Estação Vigilância. Therefore, I propose to: i) analyze the intertextual relations used in these shorts and how they dialogue with each other; ii) observe how the ethé of its directors develop around what is meant by the surveillance station; iii) to discuss the main theoretical approaches about the studies of Rhetoric and Argumentation regarding the ethos and, also, about the discussions that revolve around intertextuality today. To this end, I brought together interdisciplinary theoretical contributions from different fields of knowledge: Classical Rhetoric (ARISTOTLE [384-322 b.C.] 2011); the New Rhetoric (PERELMAN; OLBRECHTS-TYTECA [1958] 2005); Textual Linguistics (KOCH, 2002, 2009), (KOCH; ELIAS, 2009, 2006, 2016), (KOCH; CUNHA-LIMA, 2011), (GENETTE, 1986), (KOCH; BENTES; CAVALCANTE, 2008), ( MOZDZENSKI, 2012, 2013); the Studies of Argumentation (AMOSSY, 2005, 2018), (MAINGUENEAU, 2005, 2020); and Cinematographic Language (XAVIER, 2012), (PADOVAN, 2001), (MARTIN, [1955] 2005), (METZ, 1972). The corpora analyzed are composed of 7 of the 24 short films of the Festival. Based on the sample, I carried out a qualitative study, investigating meanings produced in the planes and movements of the camera according to Moletta (2009) and Xavier (2012); using Mozdzenski's (2012) analytical method on the continuous form and function of intertextuality, I observed how the embedding of the ethos was constructed through the represented ethos and the representative ethos (MAINGUENEAU, 2020). Through the analysis, my hypothesis was confirmed: the use of intertexts is effective when used in the construction of meanings in short films, as well as creating a positive and qualified discursive image of its directors, as they are knowledgeable of the classics of the cinema and philosophy, and also innovative, in the sense of creating multiple meanings through the various intertextual relationships presented.