Get up, stand up: análise do discurso de resistência no reggae de Bob Marley
Ano de defesa: | 2019 |
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Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Dissertação |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Não Informado pela instituição
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Programa de Pós-Graduação: |
Pós-Graduação em Letras
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Departamento: |
Não Informado pela instituição
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País: |
Não Informado pela instituição
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Palavras-chave em Português: | |
Palavras-chave em Inglês: | |
Área do conhecimento CNPq: | |
Link de acesso: | https://ri.ufs.br/jspui/handle/riufs/15118 |
Resumo: | Every man gotta the right to decide his own destiny, and in this judgment there is no partiality. This is how Bob Marley's Zimbabwe music begins and shows off the political-discursiveness that characterizes reggae's resistance speech. This work aims to make a descriptiveinterpretative analysis on Bob Marley’s reggae in order to identify the elements that prove the use of language to oppose, protest and resist. Other objectives include presenting the production conditions that affect the subject in his discursive practices, and point out the meaning effects of discourse as a whole. The justification for this endeavor is in the social relevance of reggae that was recently named by UNESCO as a global cultural treasure, which implies the need for academic works to better understand this form of language use as a discourse of resistance. This work follows Pêcheux's (2002) proposal to define discourse as structure and event, as well as this author's conception of the modalities of position taking (PÊCHEUX, 1995) that characterize the subject form of discourse as “good-subject ”(first modality), “bad-subject” (second modality), and the subject who disidentifies with the form of the universal Subject (third modality). The methodology follows Pêcheux's assumptions (1995, 1997, 2002), and is complemented by Orlandi's work proposals (2000, 2001, 2007). Highlight for Discourse Analysis: Principles and Procedures (2000), in which Orlandi asks about what kind of listening the analyst must establish in order to hear beyond the evidence, placing the saying in relation to the unspoken, and thus being able to point out the speech as a moving word, as a path from which the subject is analyzed in his social practice. Among the results provided in this work, we highlight the importance of the debate on social, racial and historical issues regarding the inequalities arising from colonialism with the kidnapping and enslavement of African peoples. In this sense, the reggae discourse of resistance is characterized by a message of call for social mobilization against mental slavery present in cultural and ideological processes of standardization of the senses and the subject form of the discourse and that, more broadly, contributed historically for the support of a philosophy that divides society into first and second class citizens. |
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Silva, Moacir Domingos daCarvalho, Maria Leônia Garcia Costa2022-03-11T22:11:34Z2022-03-11T22:11:34Z2019-07-30SILVA, Moacir Domingos da. Get up, stand up: análise do discurso de resistência no reggae de Bob Marley. 2019. 107 f. Dissertação (Mestrado em Letras) - Universidade Federal de Sergipe, São Cristóvão, 2019.https://ri.ufs.br/jspui/handle/riufs/15118Every man gotta the right to decide his own destiny, and in this judgment there is no partiality. This is how Bob Marley's Zimbabwe music begins and shows off the political-discursiveness that characterizes reggae's resistance speech. This work aims to make a descriptiveinterpretative analysis on Bob Marley’s reggae in order to identify the elements that prove the use of language to oppose, protest and resist. Other objectives include presenting the production conditions that affect the subject in his discursive practices, and point out the meaning effects of discourse as a whole. The justification for this endeavor is in the social relevance of reggae that was recently named by UNESCO as a global cultural treasure, which implies the need for academic works to better understand this form of language use as a discourse of resistance. This work follows Pêcheux's (2002) proposal to define discourse as structure and event, as well as this author's conception of the modalities of position taking (PÊCHEUX, 1995) that characterize the subject form of discourse as “good-subject ”(first modality), “bad-subject” (second modality), and the subject who disidentifies with the form of the universal Subject (third modality). The methodology follows Pêcheux's assumptions (1995, 1997, 2002), and is complemented by Orlandi's work proposals (2000, 2001, 2007). Highlight for Discourse Analysis: Principles and Procedures (2000), in which Orlandi asks about what kind of listening the analyst must establish in order to hear beyond the evidence, placing the saying in relation to the unspoken, and thus being able to point out the speech as a moving word, as a path from which the subject is analyzed in his social practice. Among the results provided in this work, we highlight the importance of the debate on social, racial and historical issues regarding the inequalities arising from colonialism with the kidnapping and enslavement of African peoples. In this sense, the reggae discourse of resistance is characterized by a message of call for social mobilization against mental slavery present in cultural and ideological processes of standardization of the senses and the subject form of the discourse and that, more broadly, contributed historically for the support of a philosophy that divides society into first and second class citizens.Todo homem tem o direito de decidir seu próprio destino e, nesse julgamento, não há parcialidade. É assim que a música Zimbabwe de Bob Marley começa dando mostra da político-discursividade que caracteriza o discurso de resistência do reggae. Esse trabalho tem o objetivo de fazer uma análise descritiva-interpretativa no reggae de Bob Marley para poder identificar os elementos que comprovam o uso da linguagem para se opor, protestar e resistir. Outros objetivos incluem a apresentação as condições de produção que afetam o sujeito em suas práticas discursivas, e apontar os efeitos de sentidos do discurso como um todo. A justificativa para tal empreitada encontra respaldo na relevância social do reggae que foi recentemente nomeado pela Unesco como um tesouro cultural global, o que implica na necessidade de trabalhos acadêmicos para que se possa conhecer melhor essa forma de uso da linguagem como discurso de resistência. Esse trabalho segue a proposta de Pêcheux (2002) de definir o discurso como estrutura e acontecimento, e também a concepção desse autor sobre as modalidades de tomada de posição (PÊCHEUX, 1995) que caracterizam a forma-sujeito do discurso como “bom-sujeito” (primeira modalidade), “mau-sujeito” (segunda modalidade) e o sujeito que se desidentifica com a forma do Sujeito universal (terceira modalidade). A metodologia segue os pressupostos de Pêcheux (1995,1997, 2002) e é complementada pelas propostas de trabalho de Orlandi (2000, 2001, 2007). Destaque para Análise do discurso: Princípios e procedimentos (2000), no qual Orlandi questiona a respeito de que tipo de escuta o analista deve estabelecer para poder ouvir para lá das evidências, colocando o dito em relação ao não-dito e, assim, poder apontar o discurso como palavra em movimento, como um percurso a partir do qual se analisa o sujeito em sua prática social. Entre os resultados proporcionados nesse trabalho, destaca-se a importância do debate sobre questões sociais, raciais e históricas a respeito das desigualdades advindas do colonialismo com o sequestro e escravização de povos africanos. Nesse sentido, o discurso de resistência do reggae é caracterizado por uma mensagem de chamamento para a mobilização social contra a escravidão mental presente em processos culturais e ideológicos de padronização dos sentidos e da forma-sujeito do discurso e que, de forma mais abrangente, contribuíram historicamente para a sustentação de uma filosofia que divide a sociedade em cidadãos de primeira e de segunda classe.São CristóvãoporAnálise do discursoCondições de produçãoModalidades de tomada de posiçãoForma-sujeito do discursoDiscurso de resistênciaDiscourse analysisProduction conditionsModalities of position takingSubject form of speechResistance speechLINGUISTICA, LETRAS E ARTES::LETRASGet up, stand up: análise do discurso de resistência no reggae de Bob Marleyinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisPós-Graduação em LetrasUniversidade Federal de Sergipereponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessORIGINALMOACIR_DOMINGOS_SILVA.pdfMOACIR_DOMINGOS_SILVA.pdfapplication/pdf1726885https://ri.ufs.br/jspui/bitstream/riufs/15118/2/MOACIR_DOMINGOS_SILVA.pdf9bac62269ff8c5fb5ca5fddbd7e214b6MD52LICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/15118/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51TEXTMOACIR_DOMINGOS_SILVA.pdf.txtMOACIR_DOMINGOS_SILVA.pdf.txtExtracted texttext/plain260725https://ri.ufs.br/jspui/bitstream/riufs/15118/3/MOACIR_DOMINGOS_SILVA.pdf.txt048124c0767464ee540287d16d5579c9MD53THUMBNAILMOACIR_DOMINGOS_SILVA.pdf.jpgMOACIR_DOMINGOS_SILVA.pdf.jpgGenerated Thumbnailimage/jpeg1285https://ri.ufs.br/jspui/bitstream/riufs/15118/4/MOACIR_DOMINGOS_SILVA.pdf.jpgba30d50f074102c76d3a39f40e00dd04MD54riufs/151182022-03-11 19:12:10.824oai:ufs.br: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Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2022-03-11T22:12:10Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false |
dc.title.pt_BR.fl_str_mv |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
title |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
spellingShingle |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley Silva, Moacir Domingos da Análise do discurso Condições de produção Modalidades de tomada de posição Forma-sujeito do discurso Discurso de resistência Discourse analysis Production conditions Modalities of position taking Subject form of speech Resistance speech LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
title_full |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
title_fullStr |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
title_full_unstemmed |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
title_sort |
Get up, stand up: análise do discurso de resistência no reggae de Bob Marley |
author |
Silva, Moacir Domingos da |
author_facet |
Silva, Moacir Domingos da |
author_role |
author |
dc.contributor.author.fl_str_mv |
Silva, Moacir Domingos da |
dc.contributor.advisor1.fl_str_mv |
Carvalho, Maria Leônia Garcia Costa |
contributor_str_mv |
Carvalho, Maria Leônia Garcia Costa |
dc.subject.por.fl_str_mv |
Análise do discurso Condições de produção Modalidades de tomada de posição Forma-sujeito do discurso Discurso de resistência |
topic |
Análise do discurso Condições de produção Modalidades de tomada de posição Forma-sujeito do discurso Discurso de resistência Discourse analysis Production conditions Modalities of position taking Subject form of speech Resistance speech LINGUISTICA, LETRAS E ARTES::LETRAS |
dc.subject.eng.fl_str_mv |
Discourse analysis Production conditions Modalities of position taking Subject form of speech Resistance speech |
dc.subject.cnpq.fl_str_mv |
LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
Every man gotta the right to decide his own destiny, and in this judgment there is no partiality. This is how Bob Marley's Zimbabwe music begins and shows off the political-discursiveness that characterizes reggae's resistance speech. This work aims to make a descriptiveinterpretative analysis on Bob Marley’s reggae in order to identify the elements that prove the use of language to oppose, protest and resist. Other objectives include presenting the production conditions that affect the subject in his discursive practices, and point out the meaning effects of discourse as a whole. The justification for this endeavor is in the social relevance of reggae that was recently named by UNESCO as a global cultural treasure, which implies the need for academic works to better understand this form of language use as a discourse of resistance. This work follows Pêcheux's (2002) proposal to define discourse as structure and event, as well as this author's conception of the modalities of position taking (PÊCHEUX, 1995) that characterize the subject form of discourse as “good-subject ”(first modality), “bad-subject” (second modality), and the subject who disidentifies with the form of the universal Subject (third modality). The methodology follows Pêcheux's assumptions (1995, 1997, 2002), and is complemented by Orlandi's work proposals (2000, 2001, 2007). Highlight for Discourse Analysis: Principles and Procedures (2000), in which Orlandi asks about what kind of listening the analyst must establish in order to hear beyond the evidence, placing the saying in relation to the unspoken, and thus being able to point out the speech as a moving word, as a path from which the subject is analyzed in his social practice. Among the results provided in this work, we highlight the importance of the debate on social, racial and historical issues regarding the inequalities arising from colonialism with the kidnapping and enslavement of African peoples. In this sense, the reggae discourse of resistance is characterized by a message of call for social mobilization against mental slavery present in cultural and ideological processes of standardization of the senses and the subject form of the discourse and that, more broadly, contributed historically for the support of a philosophy that divides society into first and second class citizens. |
publishDate |
2019 |
dc.date.issued.fl_str_mv |
2019-07-30 |
dc.date.accessioned.fl_str_mv |
2022-03-11T22:11:34Z |
dc.date.available.fl_str_mv |
2022-03-11T22:11:34Z |
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info:eu-repo/semantics/masterThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
SILVA, Moacir Domingos da. Get up, stand up: análise do discurso de resistência no reggae de Bob Marley. 2019. 107 f. Dissertação (Mestrado em Letras) - Universidade Federal de Sergipe, São Cristóvão, 2019. |
dc.identifier.uri.fl_str_mv |
https://ri.ufs.br/jspui/handle/riufs/15118 |
identifier_str_mv |
SILVA, Moacir Domingos da. Get up, stand up: análise do discurso de resistência no reggae de Bob Marley. 2019. 107 f. Dissertação (Mestrado em Letras) - Universidade Federal de Sergipe, São Cristóvão, 2019. |
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Universidade Federal de Sergipe |
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