A parresía no cancioneiro de Violeta Parra cantado por Mercedes Sosa em Homenaje a Violeta Parra
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Data
2016-06
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Resumo
Mercedes Sosa, Argentine singer, political and cultural
activist, pays tribute to the Chilean artist and also activist Violeta Parra, in
her record Homenaje a Violeta Parra, 1971. Both belong, respectively, to the
cultural movements named Nuevo Cancionero and Nueva Canción
Chilena. Movements that were seen by the vigorous perspective of
multiculturalism, that questioned social inequality, mass production of culture, dictatorships, among other causes and themes. Mainly these are
movements moved by the desire of a dialogic action among Latin
Americans. We’ll follow the songs Defensa de Violeta Parra (Nicanor Parra),
Gracias a la vida, Me gustan los estudiantes, Los hambrientos piden pan [o La
carta], and Los pueblos americanos. Such songs, written by Violeta Parra and
played by Mercedes Sosa, show us how this intricate psychosocial mobilities
can simplify the context of parrhesia (the political game in which a person
tries to convince the others of the necessity of certain truth) for the
construction of a pragmatically critic and egalitarian socius. A social
aesthetics picture that values the collective dimension of the cultural
productivity more than the dimension of the artists’ individualities.
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Violeta Parra, Mercedes Sosa, Cancioneiro latinoamericano, Parresía, Cancionero latinoamericano, Parrhesia
Citação
SANTANA, Jorge Alves. A parresía no cancioneiro de Violeta Parra cantado por Mercedes Sosa em Homenaje a Violeta Parra. Caderno de Letras, Pelotas, n. 26, p. 237-260, jan./jun. 2016. DOI: 10.15210/cdl.v0i26.8543. Disponível em: https://periodicos.ufpel.edu.br/ojs2/index.php/cadernodeletras/article/view/8543. Acesso em: 22 fev. 2023.