Feminejo e(m) (dis)curso; mulher, música e denúncia

Abstract

Sexism and violence against women exist in the most diverse spectrum of our society and affect directly the meaning pattern of and about women in history. Brazilian country music is na example of that. The lyrics reinforce women submission, objectifying them and encouraging female rivalry. However, this scenario begins to change as a result of the rise of feminejo, a subcategory of that musical style that has been prominent and consecrated in brazilian music for raising feminist agendas, such as the right over one's own body, deconstruction of stereotypes, denouncing suffered violence, among others things. This paper aims to analyse the discourse in the lyrics of the songs “Ele bate nela” (2017)” (He Hits Her) and “Amor que dói” (2019) (Love that hurts), both composed and performed by the brazilian country music duo Simone and Simaria. The purpose of this study is to understand how the process of meaning occurs in feminejo about the image of women. Methodologically, this study is affiliated with the theoretical framework of Discourse Analysis, proposed by Michel Pêcheux (1969) and Eni P. Orlandi (2002). It is from the discursive perspective that we analyze the lyrics of the songs with their production conditions and memory (interdiscourse). The analysis shows results indicating that these songs carry a speech in social contexts of / about violence against women that (re) produces the discursive memory of sexism, misogyny and domination. Moreover, by the analysis of the production conditions in this discourse, we understand that there is Always the possibility of ruptures and fissures that put other / new meanings of / about women in circulation.