Sorrir ou chorar? A patemização na telenovela brasileira, um estudo de O Astro

• Autor(a) principal: Rosado, Leonardo Coelho Corrêa
• Data de Publicação: 2013
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: LOCUS Repositório Institucional da UFV
• Texto Completo: http://locus.ufv.br/handle/123456789/4873
• topic: Análise do discurso; Telenovela; Emoção; Semiolinguística; Discourse analysis; Telenovela; Emotion; Semiolinguistics; CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA

This study aims to describe and analyze the patemization strategies in a plot, in other words, in a trajectory of narrative action, in the telenovela O Astro, from 10 audiovisual sequences representing this plot. This telenovela was aired on Rede Globo in two distinct periods, the first one from December 6th, 1977 to July 8th, 1978, and the second one from July 12th to October 28th in 2011 at 11pm, in which the latter version is a remake of the first. We selected the second version for this research since access to data collection was easier. Within this work, patemization was used as a discursive tool to study emotions, that is, patemization is, for us, a discursive effect, since Discourse Analysis has as its object the language while producing meaning effects inside an exchange relationship. The survey was conducted from the theoreticalmethodological approach of Semiolinguistics Theory of Discourse by Patrick Charaudeau, coupled to the concept of pathos, from Rhetoric. For the analysis of patemization, we decomposed our corpus in the enunciative and descriptive discursive organization modes, as well as we stratified the corpus into two semiological substances: stratum verbal and stratum visual-filmic, following the assumptions of Melo (2005) and Charaudeau (1995). Our results show that, from the point of view of verbal stratum, the patemization takes from two recurrent strategies: the description of emotional states experienced by the characters and the qualification assigned to certain characters. From the point of view of the visual-filmic stratum, the visual signs help to engender patemic effects in the discourse. We observed that there is not a visual-filmic category more patemic than another. We conclude that such categories have what we called patemic potentiality, that is, they have a potential to be used as a patemic sign. Moreover, we observed that patemization in our corpus, occurs in function of what is staged within the story, or the narrative processes that shapes the plot, since these processes are linked to sociodiscursive imaginaries taken as patemic. As a discursive strategy, the patemization touches the plane of capture: the instance of production wants to thrill the viewer in order to keep him captive during telenovela airing. In other words, production instance wants to raise emotions in the interpreter in order to create a kind of bond with the telenovela and thereby ensure the audience. Therefore, capture, through emotion, is also linked to the economic logic that the telenovela is tied.