“Tudo já ficou para trás”: os nordestinos e latino-americanos em palavras como navalhas na poesia de Belchior

Abstract

This is an analysis of literary production from the theoretical perspective of Vygotskian psychology of art. Its theoretical premise is that the author and the work are products and producers of the materiality of history, society and subjectivity. It carries out a synthesis based on the “objectively analytical method” of the musical album by the composer Belchior, called Alucinação (1976), whose songs reveal the socio-historical 4 context of the dictatorship in force in Brazil. It aims to identify the process of significations (sense-meaning) produced in this historical moment experienced in Brazilian society. The focus of analysis prioritizes the songs “Fotografia 3x4”, “A palo seco” and “Apenas um Rapaz Latino-americano” from the aforementioned album in comparison with the stories portrayed in the documentary Migrantes (2007) by Francisco Alves. The results show that the process of signification is permeated by a feeling - disoriented, disappointed, passionate and violent - and relates them to the human condition and affectation that operate in his condition as a migrant; place, territory and belonging are reaffirmed through Latinity and Northeasternness as destinations; and, finally, they present the word as a razor that reveals the potential of art in the expression of an era and of particular-universal relations in difficulties experienced by Northeastern migrants, such as access to housing and cultural displacement. It is concluded that songs allow us to portray personal-social-cultural dimensions, which can generate identification, affection and resistance against oppression. Art as a social technique of collective feelings.