A DISCURSIVE STUDY ON STATEMENTS THAT ROCKED THE BRAZIL IN 2013 YEAR

This paper aims to take a discursive study upon two widely repeated statements in the streets of Brazilian cities in June, 2013, when the rise of urban transportation costs caused popular demonstrations to begin. However, this rise of rates seems to have served as a mere trigger to mobilize citizens to add up other agendas to the demonstrations, such as the right to health, education, good public safety, as well as the corruption installed in the country. Thus, we sought to verify the effects of erupted in the statements “Come to the streets” and “The Giant has woken up”, used to summon the citizens subject to the fight and to leave the state of moral inertia to them history. From our point of view, these statements are a discursive event, because slip of a discursive domain to another and produce effects of citizenship and that another country was possible. In addition, they attest to the ideology material character in the language and operation of discursive memory, which enables not only the memory and repetition, but also the refutation and oblivion. By this bias, we take the city not as territorial extension, but as a large text that is given to read, that is, as a symbolic space in which history and the language are linked producing senses determined by application of the subject in memory networks and that claim by interpreting gestures.

The denouncement in the social textualization by interweavement of significant materialities

In this paper I analyse the discursive mechanics on a scene of the Brazilian film Ó paí, ó! , directed by Monique Gardenberg and based on Marcio Meirelles's play. As a start I reckon that the film textualises the social aspects parting from the relation between humour and denunciation. This relation mirrors at another one: the one between art and resistence, which is broadcast on the common  sense as well as on the theoretical-political and artistical field. I reckon humour as the expression of both exaggeration and irony that is formulated by the interweavement of images, gestures, sounds and text. The denunciation, however, is viewed as the textualisation of the conflict, once there is an element of denouncement in the play (as well as in the film), since it intends to portrait the situation of the inhabitants of Pelourinho (a historical neighbourhood in Salvador) during the 90's. This was the period when the neighbourhood was under refurbishment, motivated by touristic interests. The analysis is done under the analytical and theoretical premises of the Discourse Analysis, on a materialist perspective. I also use the notions of interdiscourse, resistence and denunciation against the analytical notions of intradiscourse and discursive memory. I believe to be able to show how the visual formulations textualise social aspects, considering the intersection between humour and denunciation as an axis of sustainability of these formulations.