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| Author(s): |
Mayra Pinto
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Educação (FE/SBD) |
| Defense date: | 2010-05-28 |
| Examining board members: |
Celso Fernando Favaretto;
Claudemir Belintane;
Elisabeth Brait;
Joao Adolfo Hansen;
José Geraldo Vinci de Moraes
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| Advisor: | Celso Fernando Favaretto |
| Abstract | |
Brazilian songwriter Noel Rosa, besides having contributed, along with other contemporary songwriters, to establish the format of popular song, as it is known today, also inaugurated a poetic paradigm constructed on its uniqueness; especially, by means of humor, irony and traits of the colloquial discourse in which the lyric voice of the popular songwriter is invariably manifested in opposition to dominant values, as regards to the world of formal labor, and in conjunction with some symbols of the samba universe. This dissertation analyzes part of the humorous work produced by Noel Rosa. This collection of works is considered to be one of the paradigms of the genre song in Brazil. From a Bakhtinian enunciative perspective, which ideologically and aesthetically maps the construction of that voice, we analyze songs the thematic of which is related to the samba songwriters attitude. From the discursive point of view, we intend to prove that Noel Rosa is affiliated to a type of literature produced in Europe, characterized by what Luigi Pirandello referred to as humorism - a discursive category that adds traits of the colloquial discourse to a type of more critical humor and to a type of irony, inaugurated by the European Romanticism, which systematically reacted against bourgeois values. We conclude that, by aesthetically constructing a voice in the song, which reflects the popular songwriters attitude in opposition to certain dominant values by means of humor and irony, the enunciation in the Noelian work focused on a social event that was starting to take place at that moment the professionalization of people involved in producing urban popular music who, in general, suffered relative class prejudice from the more conservative society. (AU) | |