The construction of power in pombagira's ethos in Umbanda's incorporated male mediuns
Considering that Umbanda promotes a symbolic inversion of power by bringing historically marginalized groups to the center of the scene as holders of great spiritual evolution, it is observed that Pombagira emerges as the free and powerful woman who transgresses the relationships historically establ...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade Federal de Santa Catarina (UFSC) |
| Repositorio: | Fórum Linguístico |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufsc.br:article/85402 |
| Acceso en línea: | https://periodicos.ufsc.br/index.php/forum/article/view/85402 |
| Access Level: | acceso abierto |
| Palabra clave: | Análise do discurso Ethos discursivo Pombagira Umbanda Análisis del discurso Discourse analysis Discursive ethos Dovetail |
| Sumario: | Considering that Umbanda promotes a symbolic inversion of power by bringing historically marginalized groups to the center of the scene as holders of great spiritual evolution, it is observed that Pombagira emerges as the free and powerful woman who transgresses the relationships historically established by society patriarchal. Based on this observation, we propose to observe the construction of the power ethos of Pombagira Sete Saias incorporated into a male medium in order to understand how she subverts what is both feminine and masculine, dressing her medium and intertwining strength and sensuality. For this, we will borrow the interviews made by the anthropologist Mariana Moura (2018) to Pombagira to analyze the construction of the discursive ethos from the assumptions of Dominique Maingueneau (2008, 2015, 2020). As initial conclusions, we argue that this body in transit raises questions relevant to Discourse Analysis, both with regard to the subject's relationship with the embedded medium, as well as the construction of the self-image in the entity's discourse. |
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