THE MINIMUM VOICE: FEMININE MODES OF SUBJECTIVITY IN THE SONG

This paper  analyses  the relation of feminine voice performance  in the years of radio age and the way the brazilians singers sings today.  The goal is to analyze enunciative traces of a singular subjectivity anchored in the singing voice. The paper focus the moment, since the years of 1980, when the feminine voice no longer sounds like the  singers of the  gold radio time. In this period, to display a dramatic mark  in the voice was the production conditions of the singing woman. In the area of ​​the French school of discourse analysis, this paper is a part of a larger research in progress. We intend to describe the certain mode of feminine subjectivity acting  in the voice as an act of enonciation.

The denouncement in the social textualization by interweavement of significant materialities

In this paper I analyse the discursive mechanics on a scene of the Brazilian film Ó paí, ó! , directed by Monique Gardenberg and based on Marcio Meirelles's play. As a start I reckon that the film textualises the social aspects parting from the relation between humour and denunciation. This relation mirrors at another one: the one between art and resistence, which is broadcast on the common  sense as well as on the theoretical-political and artistical field. I reckon humour as the expression of both exaggeration and irony that is formulated by the interweavement of images, gestures, sounds and text. The denunciation, however, is viewed as the textualisation of the conflict, once there is an element of denouncement in the play (as well as in the film), since it intends to portrait the situation of the inhabitants of Pelourinho (a historical neighbourhood in Salvador) during the 90's. This was the period when the neighbourhood was under refurbishment, motivated by touristic interests. The analysis is done under the analytical and theoretical premises of the Discourse Analysis, on a materialist perspective. I also use the notions of interdiscourse, resistence and denunciation against the analytical notions of intradiscourse and discursive memory. I believe to be able to show how the visual formulations textualise social aspects, considering the intersection between humour and denunciation as an axis of sustainability of these formulations.