Aspectos do funcionamento da autoria e da paratopia criadora em canções de Belchior

Abstract

In this research, our aim is to examine the discursive practices of the songwriter from Ceará, Antônio Carlos Gomes Belchior, known simply as Belchior, from the perspective of Discourse Analysis, focusing on the theories of Dominique Maingueneau, as presented in his work "Literary Discourse" (2018). The primary purpose is to identify the functioning of Belchior's authorship and observe how it manages the author's paratopy. According to Maingueneau, authorship consists of three intertwined instances, akin to the rings of a Borromean knot, so that if one breaks, the other two also separate. The author named these instances as person - related to the personal life of the writer; writer - linked to the trajectory the artist takes through the discursive field and the position they adopt; and inscriber - the instance related to the enunciator of the text and the maintainer of the literary institution. Paratopy is closely tied to constitutive discourses, such as religious, philosophical, scientific, literary, and, according to Costa (2001), the literomusical in the Brazilian context. These discourses define themselves as discourses of Origin, connected to a legitimizing source and an enunciation that authorizes themselves; for Maingueneau, paratopy is a feature of this type of discourse and its enunciators, who emerge from a paradoxical location, not related to the absence of a specific "place" for the discourse, but to the difficult reconciliation between place and non-place. The selection of this corpus and the analyses carried out are guided by Maingueneau's (2008) approach that discourse and conditions of production are radically intertwined, so that the text is always analyzed as a discursive practice of a subject inscribed in a position within the field, and never as an autonomous materiality. Consequently, we proposed to identify in Belchior's song lyrics the functioning of the three instances of authorship and the constitution of the composer's creating paratopy, which we argue to be fundamentally spatial (my place is not my place), temporal (my time is not my time), and of identity (my group is not my group). As a result, we identified in the artist's work the presence of the three types of paratopy, as proposed in the hypothesis, and demonstrated that Belchior's creative paratopia is managed by the three instances of authorship, as they constitute his impossible belonging to society and to the group of artists in the Brazilian literary-musical field of his time.