Elementos da estética queer na canção brasileira contemporânea.

Abstract

This thesis identifies elements that characterize a queer aesthetic in contemporary urban Brazilian popular music. Therefore, the research questions in what ways and from what elements song performances create fissures in the heteronormative system. In the last decade, there has been a profusion of artists who, at different levels of adherence to the mainstream, express dissident gender and sexuality. In order to identify aesthetic elements in this songbook, we have selected songs from the albums Remonta, by Liniker (2016), Pajubá, by Linn da Quebrada (2017), and Ojunifé, by Majur (2021). The interpretative reading of the songs, although within the scope of Literary Theory, more specifically in the line of research Literary and Media Studies, requires a transdisciplinary theoretical apparatus that considers its hybrid and multisemiotic nature. Therefore, we consider studies such as those of Luiz Tatit (2002; 2004) and Regina Machado (2011), especially with regard to vocal expression resources. Furthermore, aiming at an expanded reading, from the concept of performance, the propositions of Paul Zumthor (2005; 2010), Ruth Finnegan (2008), and Heloísa de Araújo Valente (1999; 2007) are fundamental, regarding the expression of the body and the artistic context, expanding the significant spectrum of the song. To this approach, we associate studies linked to the queer perspective, starting from the understanding of its emergence in a political and academic context and, subsequently, bringing into discussion some of the fundamental propositions in this field, such as the gender technologies, by Teresa De Lauretis (2019; 2021), gender performativity, by Judith Butler (2018; 2019), and contra-sexuality, by Paul Preciado (2004). Equally relevant are the discussions about queer from a southern global perspective, especially in the Brazilian context, proposed by authors such as Guacira Lopes Louro (2001; 2004), who explores the idea of crossing borders, and Larissa Pelúcio (2014a; 2014b), who appropriates queer anthropophagically, bringing it to a marginalized and submundane context. Finally, we propose readings of the selected songs in the corpus highlighting elements intertwined in the production of a queer aesthetic, emphasizing the ways in which the songwriters create fissures and destabilizations in the heteronormative system. Such elements of subversion and destabilization of the heteronormative system manifest themselves, mostly through language, the expression of desire and the bodies of the female singers.ou song interpreters/performers.