Ethé discursivos de Getulio Vargas nas marchinhas Gê-Gê (1931) e O Retrato do Velho (1951)

Abstract

This work aims to analyze discursively the marchinhas Gê-Gê (Seu Getulio), by Lamartine Babo, and O Retrato do Velho, by Haroldo Lobo and Marino Pinto, identifying and demonstrating the ethé, images projected for Getulio Vargas (GV) in these songs. Composed in 1931 and 1951, respectively, these marchinhas are inserted in different political contexts, which gave rise to constructions of ethé for Getulio Vargas suited to the historical-discursive needs of each moment. From a theoretical point of view, this work dialogues, above all, with the Semiolinguistic Theory of Discourse and the political ethos of Patrick Charaudeau (1994; 2004; 2014; 2018). In these works, the author situates the ethos as a persuasion strategy that conditions the public's adherence to the figure and ideals of a politician, which places ethos in a central position in political discourse. The discursive analysis of the corpus showed that the ethé of modern, patriotic and revolutionary were traced in the marchinha Gê-Gê (Seu Getulio), and the ethé of leader, popular, charismatic and experienced in the marchinha O Retrato do Velho. Although produced in a citizen instance, these speeches reiterate ideas normally arising from a political instance, as they incorporate the official discourse of the time and outline positive and complimentary ethé for President Getulio Vargas.