O (im)possível lugar na obra de Raul Seixas : a constituição de uma paratopia

Abstract

The aim of this study is to analyze, from the theoretical perspective of discourse analysis, especially from the theoretical notions proposed by Dominique Maingueneau in Literary Discourse (2006), aspects of the discursive practices of Brazilian singer and composer Raul Seixas, so as to investigate the way in which paratopy is constituted in his work. As understood by Maingueneau, paratopy is a characteristic of the self-constituting discourses (religious, philosophical, scientific and literary) proposed as discourses of origin and validated by an enunciation scene that authorizes them. For the author, paratopy comes from a paradoxical locality that does not concern the lack of a specific "place" for the discourse, but refers itself to the difficult negotiations between the place and the non-place, a process that emerges from the very impossibility of this discourse to stabilize itself. Such a process falls upon three dimensions Maingueneau classifies as paratopic engines: the scenography, the language code, and the ethos. In order to demonstrate the way in which Raul Seixas paratopic place is constituted, this study comprises a corpus of discursive and intersemiotic practices of the composer: i) songs; ii) album covers; iii) a presentation video at a festival; iv) and a comic-manifesto which was distributed in some of his shows. The chosen corpus and analysis carried out were outlined based on the paratopic engines, which we suppose that work as drivers to the creation of the work under study. Thus, in this perspective, they build their paratopy, which, in the specific case of Raul Seixas, emerges from the requirement and/or the announcement of a transcendent and metaphysical time and space beyond the enunciation itself.