Orientador(es)
Resumo(s)
Resumo
O artigo visa analisar as reproduções imagéticas e as
injunções de sentido que são dadas ao amor de acordo com a
subjetividade dos indivíduos inseridos na realidade social das
favelas. Primeiro em Orfeu da Conceição de Vinícius de
Moraes e depois na canção “O amor venceu a guerra” do
rapper brasiliense GOG. Neste recorte teremos a percepção do
sentido que se dá ao amor em dois momentos poético-musicais
da cultura brasileira: no moderno e no hipermoderno.
Abstract This article aims to analyze the imagistic reproductions and the injunctions of meaning that are given to love according to the subjectivity of the individuals familiar with the social reality of the slums. First in Orfeu da Conceição by Vinícius de Moraes and then in the love song “O Amor Venceu a Guerra” by the Brazilian rapper GOG. In this paper we will have the perception of the meaning given to love in two poetic-musical moments of the Brazilian culture: in the modern and in the hypermodern.
Abstract This article aims to analyze the imagistic reproductions and the injunctions of meaning that are given to love according to the subjectivity of the individuals familiar with the social reality of the slums. First in Orfeu da Conceição by Vinícius de Moraes and then in the love song “O Amor Venceu a Guerra” by the Brazilian rapper GOG. In this paper we will have the perception of the meaning given to love in two poetic-musical moments of the Brazilian culture: in the modern and in the hypermodern.
Descrição
Palavras-chave
Amor Canção Vinícius de Moraes GOG Love Song
Contexto Educativo
Citação
Miranda, Eugênia Francisca de Souza (2013). O Amor Sobe o Morro com Vinícius de Moraes e GOG. Millenium, 44 (janeiro/junho). Pp. 67‐83.