As vozes bakhtinianas no discurso da cultura popular no auto da compadecida

Abstract

This study is a reading of the book Auto da Compadecida (1955) by Ariano Suassuna in the Dialogical Analysis of Discourse (ADD) line of the Bakhtinian thought ascribed to the Discourse of Popular Culture of the Middle Ages, derived from the oral tradition, in connection with the discourse of the Popular Culture of the Brazilian Northeast and other genres that interpose in the materiality of the narrative. From these conceptions we seek to find the traits of the categories postulated by Bakhtin (1993, 1997, 2006, 2010, 2011, 2013, 2015 and 2016): dialogism, discourse genres, carnivalization and polyphony reopened by dialogues used by Ariano Suassuna in the construction of Auto work of Compadecida, as a way of expressing the Popular Culture through the reenunition of several leaflets of string in which anchored its production. The work Auto da Compadecida affirms itself as a corpus of research in our analytical cuts, for it is configured as a discourse that presents particularities that dialogue with diverse discourses of the remaining epochs, such as the satirical works of the Middle Ages, the circus spectacles and the stories told and produced by the people of the Brazilian Northeast. Thus, we start from these presuppositions to seek to answer the question: how to apprehend these intertwined voices arising from this Great Time that Ariano Suassuna in his creation exposes? To achieve responsiveness, we define as general objective to understand how these dialogic relations are represented via narrative discourse cuts in order to absorb elements of the carnavalized language in this discursive genre in which the diversity of voices, gestures, scenes, say of the heterodiscursivity impregnated in the horizon and environment in the symbiosis that is formed in its productions and produces erudite literature from popular culture, being the most genuine expression of a people, the Brazilian Northeastern, who sees himself represented in this work. The results of the research corroborate the singularity and particularity of the enunciative traits in the speech of Ariano Suassuna, since cultural plurality brings together elements of oral tradition, folklore, popular theater and poetry itself - The Cordel and other genres that this culture represents , the popular culture that is the most authentic expression of the people. It is the encounter of freedom by the subversion of order, where laughter, the comic-serious makes them enchant / find and see.