Compadrito x Milonguera em poéticas de amor e morte: hermenêutica do trágico no tango-canção (1917-1945)

Abstract

In the present work, we undertake a study on the tango-song (1917-1945), looking at the figure of the compadrito in poetics of the Tragic.In the literature field, the tragic is probably the instance that most required efforts to define throughout the centuries. It is known that there's not a supreme essence of tragedy, for as a concept and for this very historical reason, it will modify according to the time and society in which it's inserted, once the very literature forsakes standardized systematizations, being dangerous to built some concepts and categorize them as belonging to the tragic. From the tragic feeling, rooted to the human existential condition - even if it's not tragic by itself, but can be lived in a tragic way - we can understand the tragic phenomenon in modernity and how it can be experienced in the Tango music narrative (1917-1945). In the present work, we undertake a study on the tango-song (1917-1945), looking at the figure of the compadrito in poetics of the Tragic. In the literature field, the tragic is probably the instance that most required efforts to define throughout the centuries. Making use of an hermeneutic bias for translation and compatibilization among codes in order to reveal their meanings, it's proposed a discursive analysis of the Tango's voice, the compadrito. Through the compadrito, we seek to understand the existential tragic connected to the failure of love presents itself to the songbook's ethos and how these tragedy poetries are built in the Tango song's narrative. We'll analyze the character and corporality that legitimize the compadrito's speech. It's sought to understand, throught the Tango's songbook and the structure of feelings of its time, the marks that cross this culture in a particular time and geographic space in order to understand this songbook, this way of feeling that is not fully finished or static, but dynamic and induced by the receiver as result of its interpretation, jn order to identify these particular characteristics of the Tango's ethos and to understand that such characters make mention to the foundations of the tragic speech into the social relations anesthetized by the Tango music as cultural phenomenon. The authors that will be used as theoretical foundation are Paul Ricouer, as hermeneutic contribution; Dominique Maingueneau and José Luiz Fiorin, in what concerns the analysis of speech; Raymond Williams and Terry Eagleton, concerning the concepts of structure of feelings and ideas about tragic and tragedy; Simone de Beauvoir and Georges Bataille in what concerns the role of women jn society; Sigmund Freud, Søren Kierkegaard e Julia Kristeva, corresponding to the melancholic speech; Albert Camus, about the suicide, among others.