BÉRADÊRO, BY CHICO CÉSAR, IN THE LIGHT OF BAKHTIN CIRCLE'S DIALOGISM
POSSIBILITIES OF VOICES SHAPED BY POLYPHONY, DIALOGISM, AND CARNIVALESQUE
DOI:
https://doi.org/10.47180/omij.v6i1.334Abstract
This article analyzes the song “Béradêro” by Chico César through the lens of the Dialogic Theory of Language (DTL) developed by the Bakhtin Circle, with emphasis on the concepts of dialogism, polyphony, and carnivalization. Understanding language as a social and ideological phenomenon, the song is explored as a concrete utterance permeated by voices that engage in tensions across social, political, and cultural discourses. The analysis highlights how the lyrics weave multiple voices—from the “Saint” who questions her sanctity to the “cigana analfabeta lendo a mão de Paulo Freire” /illiterate gypsy reading Paulo Freire’s palm”—thus constructing a carnivalesque discursive space where hierarchies are inverted and meanings reconfigured. Paradoxes such as “a contenteza do triste/ the gladness of the sad” and “a tristura do contente/the sadness of the glad” reveal the polyphonic nature of the work, open to dialogic interpretation. The polysemy of words like “bala/bullet” and the imagery of the “girl sewing clothes with the Equator line” expand the range of meanings, showcasing the aesthetic and critical richness of this poetic-musical text. By intertwining aesthetics, politics, and culture, the song becomes a powerful socially situated utterance, contributing to the understanding of the relationship between art, language, and society.
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