O discurso misógino e machista em letras de músicas sertanejas

• Ano de defesa: 2024
• Autor(a) principal: Vivianne Freire Valladão
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FALE - FACULDADE DE LETRAS; Programa de Pós-Graduação em Estudos Linguísticos; UFMG
• Palavras-chave em Português: Discurso; Machismo; Misoginia; Músicas sertanejas; Semiótica; Análise do discurso; Música sertaneja
• Link de acesso: http://hdl.handle.net/1843/70407

In this study, we aimed to analyze, in the light of Discursive Semiotics (also known as French or Greimasian Semiotics), understood here as a part of Discourse Analysis (in a broad sense), six lyrics of contemporary Brazilian country songs, which were chosen, among many others, due to the reference made to women. Therefore, our goal is to analyze the female figure in those lyrics, so as to apprehend the discourse materialized in them. Our hypothesis is that these songs generally reproduce prejudice against women, which reinforces a misogynist and sexist discourse. As analytical categories, we made use of those that integrate the discursive level of the generative process of meaning, which are: the enunciative projections in the utterance; the (argumentative) relations between enunciator and enunciatee; themes and figures. In order to do so, we mobilized authors such as Fiorin (1989, 2003, 2007, 2014), Lara (2012), Tocaia (2020) and Amossy (2011, 2020). In addition, so as to study the context, we used researchers who historically examine the female figure in society, such as Algranti (1993), Del Priore (1993), Galetti (2013) Sena and Gomes (2013), Yalom (2002) and Vinhas (2021) and also those who deal with the trajectory of the Brazilian country music, such as Rodrigues; Barbosa and Laignier (2012) and Zan (2001). The analysis results confirm our hypothesis: in fact, there is a strong presence of patriarchal ideology in the lyrics that compose the corpus. This ideology – although undeniable progress of women in the contemporary world – still manifests itself in our society, being materialized in the aforementioned misogynist and sexist discourse, which is, however, <naturalized=, <banalized=, allowing such songs to be disseminated and become very successful.