Detalhes bibliográficos
| Ano de defesa: |
2020 |
| Autor(a) principal: |
Angelini, Giuliana Dias
 |
| Orientador(a): |
Pinheiro, Amálio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucsp.br/handle/handle/23135
|
Resumo: |
The study developed here looks at the issues of popular and mass cultural production in mestizo Latin America, by focusing on São Paulo rap – especially in the group Racionais MC‟s and the singer Emicida. The question that inspired an in-depth investigation comes from the observation of negative comments, that designate this musical genre, created nowadays (when compared to those performed in the past), as “sold to the system”. These views could reminded the culturalist theories proposed by scholars from the Frankfurt School, as is the case of the concept of cultural industry by Adorno and Horkheimer. However, with the deepening in the bibliographic research, these linear and dualistic positions were refuted and the object was insert in its time and, later, in its space. Thus, through Pinheiro, Martín-Barbero, Lezama Lima, Gruzinski, etc. it was sought to ratify the complexity of cultural production in Latin America, showing the characteristics of the popular and mass culture of this mestizo society; and also understanding that the multiple and border culture, as proposed by Ferreira, strengthens the sociocultural interlacement, and not the fragmentation. With this understood, a greater detail was made of the contexts and transformations of rap, as well as the paths followed by the group Racionais MC‟s – who, in short, have a certain focus on race and class – and by Emicida – who promotes rhymes that, currently, embrace others subjects and social minorities, mainly due to your media visibility. Finally, parts of the performance of tow songs were analyzed, in order to corroborate that this is a cultural manifestation that is distant from consensual, duality and social ties, and is close to the rhythm, plurality, nature and street, as a chronicle of the popular daily life able to generate identification, awareness and performance/action – in assembly |
