| dc.description.abstract | Getting base from the paradigmatic assumptions of Discursive Traditions (KABATEK,
2006; KOCH; OESTERREICHER, 2007), About the studies on orality (ZUMTHOR
1993, 1997, 2000, 2005, 2010; MARCUSCHI, 2008; ONG, 1998; COSERIU, 1983)
and from the interdisciplinary contributions of history, language and culture (CALVET,
2011; CHARTIER, 2002; BOURDIER, 2007; CANCLINI, 1989) this work, investigates
a universe of one hundred texts, compare and analyze them as asked by the definitive
historical pamphlets of the genre by the Brazilian Academy of Cordéis, only nineteen
cordel literature from the last century to the present, written by brazilian
northeasterners, had the same theme, emphasizing in this corpus the reiterability in
the criteria of variation and change. In this case, a quantitative analysis is presented,
under an interpretative, exploratory, descriptive and bibliographical focus, the
reiterated presence of the formulaic, proverbial phrases and of figures of language
more used in the texts of the oral tradition, seeking to answer the following question:
what are the common characteristics in the text, in its synchronic / diachronic aspects,
that permeate all the leaflets of this genre? With the aim of identifying in the
phraseology the process of permanence and innovation that are most repeated in this
literature, the thesis raised defines the cordel as a discursive genre in the oral field,
having in the brochure the representation of its support. This study shows a generic
structural delineation, provoking elements of this poetic narrative. The results obtained
in this study confirm to the fact that, unlike discussions raised in the country, there are
not only metaphors and proverbs in the texts of cordel literature. The study of
phraseology points to (i) significant incidence from tropes of concentration and
expansion, (ii) proverbial phrases directed, on a large scale, to the pleas, requests and
to the religiosity of the subject and, in profusion, (iii) phrases formulas that, unlike
metaphors, do not suggest an explicit or implicit comparison, but an oral crystallization
in the subjects' voices. Through the analysis carried out, we arrive at the realization
that the cordel is a discursive genre which has stratified the elements that compose it.
Being, therefore, a metonymic genre and this phenomenon presents a textual
metafunction in which its structure and format allow to go from a simple solitary reading
to the social practices, allowing the continuity of the text between the voices of the
subjects. | |
