Name: Camila Teixeira Gabriel
Type: MSc dissertation
Publication date: 15/12/2020

Namesort descending Role
Viviana Mónica Vermes Advisor *

Examining board:

Namesort descending Role
Jean Pierre Chauvin External Alternate *
Simone Luci Pereira External Examiner *
Vitor Cei Santos Internal Alternate *
Viviana Mónica Vermes Advisor *
Wilberth Claython Ferreira Salgueiro Internal Examiner *

Summary: This dissertation aims to investigate the relationships between the concepts of identity, memory
and resistance melancholy in the literomusical discourse of the singer and composer, Belchior.
It is considered that the work of this cearense artist highlights the way in which it was given the
process of identity construction of the subject in face of the context of political repression
occurred during the period of the military dictatorship started in 1964. Besides that, it is
observed the author's constant interest in narrating the subject's trajectories, also from his own
experiences as a migrant, which involves the effects of displacement and uprooting in a Latin
American society immersed in the paradigms of (post) modernity. The present study seeks to
analyse, using bibliographic and documentary research, marks of memory registered in
Belchior's oeuvre as a form of interpretation, indispensable historical reading to the process of
elaborating the past and, therefore, of all individual and collective identity. For that, we rely on
the theoretical contributions of Joel Candau (2011), Paul Ricoeur (2007) and Adorno (2008).
Following this, melancholy emerges as an irrefutable feature of the human condition and will
be seen here, through the theoretical framework of Ginzburg (2010) and Silva (2018), as a
determining factor of the subject's critical, creative and resistant act in Belchior. Starting from
a perspective that considers the verbal, musical and performance dimensions of the song, being
supported by authors such as Costa (2001), Tatit (2012) and Finnegan (2008), the research
includes the analysis of the songs “Fotografia 3x4” and “Velha roupa colorida”, from 1976, and
“Conheço meu lugar”, from 1979, in order to expose the melancholic, resistant and engaged
character of the author's artistic work.

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