Cenografia e ethos nos versos de uma canção: a infinitude discursiva de Strange Fruit

Abstract

In addition to the apprehension of the strictly linguistic elements of the text, the presented concepts within the scope of Discourse Analysis (DA) allow the identification, observation and study of all types of statements in their socio-historical and ideological context. From this perspective, this work aims to analyze, from a discursive perspective, the verses of the song Strange Fruit, considered the first anti-racist protest song - and one of the most iconic works focused on this theme, interpreted by the black American singer Billie Holiday, in the context of racial segregation in the United States. From the theoretical perspective, we resort to the Discourse Analysis of enunciative basis, as formulated by Dominique Maingueneau, more specifically, to the concepts of enunciation scene, there the comprehensive, generic and scenography scenes, and discursive ethos are understood. From the methodological perspective, we mobilized the referred concepts to Strange Fruit's verses, undertaking the analysis of the enunciative-discursive marks, in order to explain the movements of construction of the utterance and the meanings produced by the discourse. The results achieved in this analytical path indicate that the mobilization of such notions, combined with the principles of interdiscourse, discursive practice and intersemiotic practice, brought contributions that point to the historical relevance of Strange Fruit, and, consequently, to the recurrent circulation of this event at different times and media