As vozes alheias em canções populares

• Ano de defesa: 2020
• Autor(a) principal: Araujo, Hilda Alves do Nascimento
• Orientador(a): Silva, José Ricardo Carvalho da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação Profissional em Letras
• Palavras-chave em Português: Língua portuguesa; Educação; Estudo e ensino; Música e linguagem; Leitura; Canção; Dialogismo; Vozes alheias
• Palavras-chave em Inglês: Song; Dialogism; Reading; Other people’s voices
• Link de acesso: http://ri.ufs.br/jspui/handle/riufs/15781

This research is based on the assumption that the Portuguese language teaching should provide a dialogical understanding through the perception of other people’s voices in different enunciative aspects, from the study of speech genres. In this sense, the problem found refers to students' difficulties in reading texts, satisfactorily, in the discursive-enunciative perspective. As an objective, didactic possibilities have developed in this work with the song genre based on compositions that appropriate the other people’s voices in the utterance constructions under the discursive perspective of language. Therefore, the selected songs for this work - “Monte Castelo” and “Faroeste Caboclo". They approach the prose discourse by presenting dialogues and situations of interaction in which there is a confrontation of positions, common characteristics to modern poetry, for they are based on social criticisms. From action research based on Tripp (2005), in a Th-grade Elementary school class from a state school, located in Pedrinhas municipality of Sergipe State, reading and interpretation activities were developed that promoted gender recognition, communicative intention identification, as well as analyzes of the dialogical categories, such as the interdiscourse, the transmission models and polyphony. For this, support was sought in the theoretical framework of dialogism and discursive genres defended by Bakhtin (2002, 2003, 2010, 2011, 2013, 2016, 2018) and the exposure of other people's voices amplified by Volóchinov (2017 [1929]), in addition to using the didactic sequence model (SD) by Dolz, Noverraz, and Schneuwly (2004), under the adaptations of Costa-Hubes (2007, 2008). In general, DS presented itself as a good methodological resource in teaching aimed at new language practices. Finally, as a result, a pedagogical notebook for reading songs was produced to contribute to different possibilities of reading and interpretation in a literary musical genre (literomusical).