Who talks in tango and fado? Some self-figurations
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...
Guardado en:
| Autor principal: | |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Centro de Literatura Comparada
2018
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| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/2174 |
| Aporte de: |
| id |
I11-R92article-2174 |
|---|---|
| record_format |
ojs |
| institution |
Universidad Nacional de Cuyo |
| institution_str |
I-11 |
| repository_str |
R-92 |
| container_title_str |
Boletín de Literatura Comparada |
| language |
Español |
| format |
Artículo revista |
| topic |
tango fado identidad puerto cantor tango fado identity port singer |
| spellingShingle |
tango fado identidad puerto cantor tango fado identity port singer Dalbosco, Dulce Who talks in tango and fado? Some self-figurations |
| topic_facet |
tango fado identidad puerto cantor tango fado identity port singer |
| author |
Dalbosco, Dulce |
| author_facet |
Dalbosco, Dulce |
| author_sort |
Dalbosco, Dulce |
| title |
Who talks in tango and fado? Some self-figurations |
| title_short |
Who talks in tango and fado? Some self-figurations |
| title_full |
Who talks in tango and fado? Some self-figurations |
| title_fullStr |
Who talks in tango and fado? Some self-figurations |
| title_full_unstemmed |
Who talks in tango and fado? Some self-figurations |
| title_sort |
who talks in tango and fado? some self-figurations |
| description |
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. |
| publisher |
Centro de Literatura Comparada |
| publishDate |
2018 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/2174 |
| work_keys_str_mv |
AT dalboscodulce whotalksintangoandfadosomeselffigurations AT dalboscodulce quienhablaeneltangoyenelfadoalgunasautofiguraciones |
| first_indexed |
2022-06-20T13:32:33Z |
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2022-06-20T13:32:33Z |
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Revistas |
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1764819785872310275 |