¿Quién habla en el tango y en el fado? Algunas autofiguraciones.
In every music genre which has lyrics, the poetic concept of voice becomes more complex, because at least two of its senses intersect: that of the voice as something that emerges from enunciation and as "corporeality of speech". Thus, a complex semantic framework is configured, where the v...
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| Formato: | Online |
| Lenguaje: | spa |
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Centro de Literatura Comparada
2018
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/2174 |
| Sumario: | In every music genre which has lyrics, the poetic concept of voice becomes more complex, because at least two of its senses intersect: that of the voice as something that emerges from enunciation and as "corporeality of speech". Thus, a complex semantic framework is configured, where the voice "is situated in the articulation between the body and the discourse" (Barthes, 1986: 252).
In this knot, tango and fado are two genres of the port song, whose voice is also modeled by a particular space space: the port city, characterized by being a space of ambiguity, circulation and margin, contact and hybridization, where the possibilities of encounters and misunderstandings, discovery and masking are played. In this context, the issue of identity, problematic in itself (Robin, 1996: 30) is resized.
The objective of this paper is to make a first approach to the problem of the identity of the lyric subject in these genres, starting from those tangos and fados where the speaker says who he is, that is, he makes a conscious self- definition. We will deal mainly with songs in which the subject is explicitly assimilated with the singer or the fadist. |
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