The intersemiotics traits of the discursive ethos in the Rosinha and Catimbau moda de viola

Abstract

This article has in scope to analyze the intersemiotics traits revealed in the discursive ethos in Catimbau song. We seek to ascertain to what extent these traits reveal identity aspects and socio-cultural practices of countrified man in moda de viola, which can be considered a major musical and discursive practices of Brazilian culture. We selected as the analysis corpus, the Catimbau song, taken here as discourse, composed by Teddy Vieira and Carreirinho and recorded by musicians and instrumentalists Tião Carreiro and Pardinho. From this text, apart seven indentations in the linear process of Brazilian songbook narrative. Separate statements are intended to mobilize the intersemiotics plan for us here cited, however the speech contained in the overall plan of the song will be taken in the field of countrified narrative, that is, and the socio-cultural practice known as moda de viola. Said that, it is necessary to know that, to handle for the purpose of analysis, we mobilize one dialectics of theoretical frameworks arising from the Discourse Analysis and Semiotics Song. The first, based on studies of enunciation-discursive perspective of Dominique Maingueneau, we mobilize the category of scenography and ethos. The second, in Semiotics of the theoretical framework Song studied Luiz Tatit, we operate with the author calls the general project of diction of the songweiter, namely: the figurativization, passionalization and relay the dominance of one process over the other. The analysis of corpus selected reveals that the utterer is invested an ethos that values the identity practices and socio-discursive practices housed in the discursive memory of the listener/coenunciator. Indeed, we are facing a socio-cultural and discursive musical file of society, ultimately, an intangible heritage of Brazilian culture.

Keywords: moda de viola, intersemiotics traits, discursive Ethos.