Navegando por Autor "Lima, Jheny Iordany Felipe de"

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    “Convoque seu Buda”: práticas de resistência e relações de poder nas letras de música de Criolo
    (Universidade Federal de Goiás, 2019-03-12) Lima, Jheny Iordany Felipe de; Fernandes Júnior, Antônio; http://lattes.cnpq.br/9030434824436730; Fernandes Júnior, Antônio; Franceschini, Bruno; Duarte, Karinne Reges
    This research aims to think, from the resistance practices materialized in the song lyrics of Criolo, how the power relationships are given and how they affect the subjects, objectifying and constituting them. Criolo is a contemporary artist and remains committed to his musical aesthetic project, being the voice of marginalized, giving visibility to issues silenced by governments and institutions, breaking the system's chains, transgressing the institutionalized discourse about progress, about the myth of racial democracy, about meritocracy and others. These aspects make possible the analytic of the discourses materialized in their letters, by the bias of the analysis of the French discourse of Foucauldian approach, starting from the resistances as the focus of analysis. For, as Foucault (1995) elucidates, through the resistances it is possible to identify where the power relationships are located. This study is justified mainly by the contribution to the studies of language in order to evidence how certain devices of power operate on a particular social body and what possibilities of resistance arise from these power-knowledge relations. It is also justified by the possibility of reflecting on how the transgressive language of rap can be understood as a discursive effect linked to the practices of resistance since rap transgresses the institutionalized discourses, breaks with the regimes of truth, focusing on order of discourses in force in given historical rationality. By adopting the arque-genealogy of Foucauldian discourses, this research was able to think of the transgressive language of rap, practices of resistance to institutionalized powers and their regimes of truth, since rap can break with discursive practices that individualize, exclude and even mortify the subjects in the urban space. The rap can be a voice and give voice to the marginalized, to the subjects left on the sidelines, like the blacks, the poor, street citizens.