Ethé discursivos de Getulio Vargas construídos nas marchinhas Gê-Gê (Seu Getulio) (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, seeking to identify and understand the ethé built on the figure of Getulio Vargas (GV) in these songs. Composed in 1931 and 1951, respectively, these marchinhas are inserted in different political contexts, which gave rise to the construction of distincts ethé of Vargas, which were adequate to the historical-discursive necessity of each moment. From a theoretical point of view, this work dialogues, above all, with Patrick Charaudeau's Semiolinguistic Theory of Discourse and his studies on political discourse (CHARAUDEAU, 2014, 2018). In these works, the author inserts the ethos as a persuasion strategy that conditions the public’s adherence to the figure and ideas of the politician, which places the ethos in a central position in political discourse. The discursive analysis of the corpus pointed out that the ethé of modern, patriotic and revolutionary were traced in the marchinha Gê-Gê (Seu Getulio), and the ethé of chief, popular, charismatic and experienced in the marchinha O Retrato do Velho. Although produced in a civic instance, these speeches reiterate ideas normally arising from a political instance, since they incorporate the official discourse of the time and outline positive ethé for President Getulio Vargas, constituting what Aristotle (2005) defines as discourses of epideictic genre.