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O Ethos E O Pathos Em Videoclipes Femininos: Construindo Identidades, Encenando Emoções

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O Ethos E O Pathos Em Videoclipes Femininos: Construindo Identidades, Encenando Emoções UNIVERSIDADE FEDERAL DE PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS O ETHOS E O PATHOS EM VIDEOCLIPES FEMININOS: CONSTRUINDO IDENTIDADES, ENCENANDO EMOÇÕES Leonardo Pinheiro Mozdzenski Recife, maio de 2012 UNIVERSIDADE FEDERAL DE PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS O ETHOS E O PATHOS EM VIDEOCLIPES FEMININOS: CONSTRUINDO IDENTIDADES, ENCENANDO EMOÇÕES Leonardo Pinheiro Mozdzenski Tese apresentada ao Programa de Pós-Graduação em Letras da Universidade Federal de Pernambuco, como requisito parcial à obtenção do grau de Doutor em Linguística. Área de concentração: Linguística Linha de pesquisa: Análise sociopragmática do discurso Orientadora: Prof.ª Dra. Angela Paiva Dionisio Recife, maio de 2012 Catalogação na fonte Bibliotecária Gláucia Cândida da Silva, CRB4-1662 M877e Mozdzenski, Leonardo Pinheiro. O ethos e o pathos em videoclipes femininos: construindo identidades, encenando emoções / Leonardo Pinheiro Mozdzenski. – Recife: O autor, 2012. 356 f. : il. Orientador: Angela Paiva Dionisio. Tese (Doutorado) – Universidade Federal de Pernambuco, CAC. Letras, 2012. Inclui bibliografia e anexos. 1. Linguística. 2. Retórica I. Dionisio, Angela Paiva (Orientador). II. Titulo. 410 CDD (22.ed.) UFPE (CAC2012-68) A meus pais, Sergio ( in memorian ) e Juraci A todos/as que amo e que compartilharam comigo esta jornada iii AGRADECIMENTOS Muitas pessoas me ajudaram, direta ou indiretamente, na elaboração deste trabalho, oferecendo respostas a inúmeras dúvidas, atendendo-me com sua generosidade e gentileza, e incentivando- me com seu otimismo. Meus agradecimentos sinceros a todos e muito especialmente àqueles mais proximamente envolvidos: À Professora Angela Paiva Dionisio, orientadora e amiga, não apenas por ter me acolhido (e suportado todas as minhas chatices) desde a minha primeira aula no curso de Letras em 1998, mas também por ter sido a minha maior incentivadora intelectual ao longo de todos esses anos. Aos Professores Luiz Antônio Marcuschi, Judith Hoffnagel, Virgínia Leal, Dóris Cunha, Márcia Mendonça, Nelly Carvalho, Kazue Saito, Beth Marcuschi, Medianeira Souza, Carolyn Miller, Charles Bazerman, Teun van Dijk, Theo van Leeuwen e Dominique Maingueneau, pelo apoio acadêmico e pelo inspirador exemplo de profissionalismo e de compromisso científico. Aos Professores Hans Waechter e Karina Falcone, pelos valiosos comentários na banca de qualificação, contribuindo para tornar um trabalho ainda tateante em uma verdadeira tese. Às Professoras Virgínia Leal e Regina Dell’Isola, por terem aceito o convite para integrar a banca de examinadores e lançar novos olhares sobre o tema investigado. À minha mãe, Juraci, por ser o meu porto seguro, a quem eu posso recorrer e me confortar naqueles momentos em que um abraço, um beijo e um cafuné valem mais que mil palavras. Aos meus mais que amados Karina (minha Saltie Girl ) e Armando (meu Cumpádi ), que são minhas forças de sustentação, dentro e fora do mundo acadêmico. Sem vocês, impossível! Ao meu irmão-amigo Sergio Jr. e a todos os meus amigos-irmãos: Aglaia, André George, Danielle, Diogo, Junior, Marcelo, Rafs, Rogéria, Scully, Serginho, Tatiana e Wanessa. Ao trio de anjos que passou pela minha vida: Lilian, Gustavo e Carlinhos. Do fundo do meu coração, agradeço a Deus por ter colocado vocês no meu caminho. A todas as maravilhosas amizades que fiz ao longo do curso de Letras, da graduação até o doutorado. Um carinho todo particular para Adriana Rosa, Ana Regina, André, Cleber, Catarina, Eldenita, Helga, Herimatéia, Jay, Lucy-anne, Ludmila, Medianeira, Nadiana, Neilton, Normanda, Paloma, Patrícia, Ricardo e Zé Gomes. iv A todos que gentilmente encaminharam materiais diversos sobre videoclipe. Meu especial ‘obrigado’ para: Thiago Soares ( you bang! ), Rodrigo Barreto, Ariane Holzbach e Marcos Gross. A Karla e Augusto, da Pipa Comunicação, pela ótima parceria e pelo ótimo trabalho que foi realizado na legendagem dos videoclipes e na produção dos DVDs. Aos amigos, colegas e servidores do TCE-PE e do PPGL-UFPE, pela torcida constante. A Hubs, por estar ao meu lado, me apoiando e me encorajando na louca reta final dessa minha maratona acadêmica. “And everything went from wrong to right ...” v Fonte : Alpino Cartunista Disponível em: <http://meme.yahoo.com/cartunistaalpino/>. Acesso em: 12 mar. 2012. (Reproduzido com autorização do artista) vi RESUMO O objetivo central desta investigação consiste em estudar de que forma se dá a construção do ethos e do pathos em videoclipes femininos. Em outras palavras, a minha principal finalidade é analisar as marcas linguisticamente inscritas no discurso videoclíptico feminino para a criação identitária de uma autoimagem das cantoras e para a encenação das suas emoções e sentimentos a partir dos vários modos semióticos orquestrados nesse gênero textual: imagem, música e palavra. De maneira mais específica, proponho-me aqui a: i) investigar o videoclipe como gênero textual, observando a sua formação histórica e sociorretórica, as suas configurações genéricas e também como dialoga intertextualmente com outros textos, discursos e gêneros; ii ) examinar de que modo se dá a construção da identidade feminina no videoclipe a partir do debate entre feministas e pós- feministas em torno da constituição identitária da mulher; e iii ) apresentar e discutir as principais abordagens teóricas sobre o ethos e o pathos ao longo da história e na atualidade, propondo por fim a adoção de uma perspectiva sociocognitiva acerca desses dois fenômenos. Para tanto, foram conjugadas interdisciplinarmente as contribuições teóricas de diversos campos do conhecimento: da Retórica Clássica, da Escola Americana da Nova Retórica, da Retórica Visual, da Análise do Discurso, dos Estudos Enunciativos, da Semiótica Social, bem como da Semiótica da Canção, sempre assumindo como principal norte teórico a sociocognição. O corpus analisado compõe-se dos seguintes videoclipes: Born this way (Lady Gaga, 2011), Firework (Katy Perry, 2010), Run the world (girls) (Beyoncé, 2011), Rolling in the deep (Adele, 2010) e Super bass (Nicki Minaj, 2011). A partir da amostra, realizei um estudo de caráter qualitativo, investigando exemplarmente a construção do ethos e do pathos nesses vídeos femininos selecionados, os quais se encontram dispostos em duas macrocategorias de análise: os ethe de engajamento (constituídos pelo ethos de identificação e pelo ethos de solidariedade) e os ethe de personalidade (formados pelo ethos de comandante ou líder , pelo ethos de humanidade e pelo ethos de ‘não-sério’ ou de ‘não-virtude’). Como resultado da análise, é possível concluir que as autoimagens construídas pelas cantoras em seus videoclipes se apresentam sob formas múltiplas, diversificadas e complexas, ao contrário do que apregoam os tradicionais estudos críticos de orientação feminista, os quais dicotomizam tais imagens entre boas (a serem usadas como modelo de comportamento) e más (a serem repelidas). Palavras-chave : ethos ; pathos ; videoclipe; retórica; sociocognição. vii ABSTRACT The central objective of the present investigation is to study the construction of ethos and of pathos in female music videos. In other words, my main purpose consists of analyzing the linguistically inscribed marks on the female music videos discourse for the identity creation of a self-image of the singers and for the staging of their emotions and feelings based on the various semiotic modes orchestrated in this text genre: image, music and words. More specifically, I propose here to: i) investigate music video as a genre, observing its historical and socio-rhetorical background, its generic configurations and the way it engages in intertextual dialogue with other texts, discourses and genres; ii ) examine the construction of the female identity in music videos based on the debate between feminists and post-feminists on the identity construction of women; and iii ) present and discuss the principal theoretical approaches to ethos and pathos throughout history and nowadays, proposing at the end the adoption of a sociocognitive perspective on these two phenomena. In order to accomplish these goals, the theoretical contributions of various fields of knowledge were conjugated in an interdisciplinary way: Classical Rhetoric, North American New Rhetoric School, Visual Rhetoric, Discourse Analysis, Enunciative Studies and Social Semiotics, as well as Music Semiotics, always assuming sociocognition as our main theoretical framework. The corpus analyzed is composed of the following music videos: Born this way (Lady Gaga, 2011), Firework (Katy Perry, 2010), Run the world (girls) (Beyoncé, 2011), Rolling in the deep (Adele, 2010) and Super bass (Nicki Minaj, 2011). Using these works, I conducted a qualitative study, exemplarily investigating the construction of ethos and of pathos in these selected female videos, which are arranged into two macro-categories of analysis: the ethe of engagement (made up of the ethos of identification and the ethos of solidarity) and the ethe of personality (formed by the ethos of leadership , by the ethos of humanity and by the ethos of ‘unserious’ or of ‘non-virtue’). As a result of the analysis, it is possible to conclude that the self- images construed by the singers in their music video clips are presented in multiple, diversified and complex forms, contrary to what is advocated by traditional feminist-oriented critical studies, which dichotomize such images between the good ones (to be used as a role model) and the bad ones (to be repelled).
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