As mulheres no cordel: a construção do ethos na disputa por um posicionamento na peleja

Abstract

The chap-book is traditionally characterized by the social, cultural and historical factors that determine it as a popular discursive genre. Based on these factors, it was up to man to produce and enunciate the poems belonging to this genre, which promoted their acceptance in the social scenario, where it was initially presented and commercialized. Due to social changes that occurred in the twentieth century, women, who previously had only been responsible for domestic activity, began to work outside their homes and, thus, gained a voice, although subjected to some patriarchal values that persist in society to this day. In popular culture, in addition to the chap-book, other sectors began to rely on female creation, such as the battle. This can also be found as a scenography of that discursive genre, through a feminine enunciation, which attracted the interest for the development of this study, whose purpose is the analysis of the ways in which the female ethé were constituted in twine leaflets which have in mind her utterance the scenography of a battle, seeking to interpret how the enunciator positions herself, legitimizing her discourse, in a recognizably masculine scenario. To achieve this propose, the present work had as theoretical and methodological perspective the French Discourse Analysis, in line with Maingueneau, which allowed the analysis of the constitution of the female ethos, allied to a sociocultural approach, focused on the object of this study, the chap-book, and the scenography which constitutes its statement, trying to interpret the possibilities of positioning of the woman during a fight of battle. After reading and describing three cord leaflets, selected for this research, which bring female stage design to the battle, the subsequent interpretation brings the following result: in the first cord leaflet, Chiquinha do Cariri's battles with Nanã de Princesa, from Josenir Lacerda and Dalinha Catunda, the clash occurs between two women with different positions, one exposes a traditional ethos and a rural conservatism, while the other will be innovative with a profile of urban modernity, and in the end come a tie which favors tradition patriarchal; in the second, Mulher na panela do repente, by Dalinha Catunda, the dreamlike condition of the scenography in which the woman is winning the match and loses as a result of awakening, favors tradition again; and, finally, the last pamphlet, Peleja by Dalinha Catunda and Aldemá de Morais, from Dalinha Catunda and Aldemá de Morais, which is entirely dialogical, the controversial constitution of the discourse prevents agreement, leading to the same situation as the previous ones. It was concluded which, as much as women produce chap-books and position themselves as enunciators in a battle, they will always have their position submitted and compromised with the traditional discourse.