Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-20T21:07:57Z No. of bitstreams: 1 JuscelyDeOliveiraConfessor_DISSERT.pdf: 739230 bytes, checksum: 644ed68fe42be6b4e6f434cdf3d238f4 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-22T23:16:35Z (GMT) No. of bitstreams: 1 JuscelyDeOliveiraConfessor_DISSERT.pdf: 739230 bytes, checksum: 644ed68fe42be6b4e6f434cdf3d238f4 (MD5) / Made available in DSpace on 2017-02-22T23:16:35Z (GMT). No. of bitstreams: 1 JuscelyDeOliveiraConfessor_DISSERT.pdf: 739230 bytes, checksum: 644ed68fe42be6b4e6f434cdf3d238f4 (MD5) Previous issue date: 2016-07-29 / O presente trabalho busca analisar a obra ?pera do malandro (1978), de Chico Buarque de Hollanda (1946-) ? luz da teoria de Gayatri Spivak acerca do sujeito subalterno. Em seu texto Pode o subalterno falar? (2010), Spivak aponta que as classes mais baixas da sociedade, al?m de serem exclu?das do quadro social dominante, n?o possuem nenhuma autonomia ou representa??o, j? que os que se prop?em a esse papel o fazem com base no aparelho ideol?gico das camadas mais altas da sociedade e, assim, a voz subalterna n?o se concretiza. Chico Buarque, por sua vez, ? considerado um dos artistas brasileiros que melhor representa a voz dos desvalidos atrav?s de sua cria??o. A ?pera do malandro traz personagens que vivenciam situa??es semelhantes ao contexto exposto por Spivak. No entanto, os personagens de Buarque tentam expressar sua voz, mesmo sendo subalternos, n?o atrav?s de um discurso pol?tico, mas sim art?stico. Spivak, investigando a ?ndia, seu pa?s de origem, revela o processo de coloniza??o como o principal fator da total impossibilidade de fala do sujeito subalterno, e ? exatamente neste ponto que a constru??o te?rica spivakiana e o processo art?stico buarquiano apontam para caminhos diferentes, pois, na verdade, o Brasil e a ?ndia apresentam contextos hist?ricos distintos de coloniza??o, o que por sua vez diferencia o desenvolver da hist?ria de cada pa?s e, consequentemente, a constru??o de seus sujeitos. Dadas essas circunst?ncias e as diferen?as entre os momentos hist?ricos, o malandro brasileiro surge como um sujeito subalterno que consegue estabelecer na arte liter?ria buarquiana um espa?o onde ele possa falar. / This paper seeks to analyze Chico Buarque de Holanda?s work, ?pera do Malandro (1978), based on Gayatri Spivak's theory about the subaltern individual. In her text Can the subaltern speak? (2010) Spivak points out that the lower classes of society, besides being excluded from the dominant social context, have no autonomy or representation, since those who play this role are based on the ideological apparatus of the highest levels of society, and so the subaltern voice does not materialize itself. Chico Buarque, on the other hand, is considered one of the Brazilian artists who best represents the voice of the underprivileged people through the expression of his art. The ?pera do Malandro points to a character who plays a similar role in the social context of that which Spivak addresses. However, Buarque?s character manages to express her voice, even as a subaltern, not through a political discourse but through art. Spivak, through an investigation of Indian society, her country of origin, points out the process of colonization as the main element of the total impossibility of the subaltern exercising an authentic voice. It is exactly at this point where the spivakiana theoretical construction and the buarquiano artistic process point different ways, because in fact, Brazil and India present different processes of colonization, which in turn differentiate the path of history, and consequently the construction of individuals. Given these circumstances and the differences between historical moments, the trickster (malandro), appears as a subaltern individual who can establish in the buarquiana literary discourse where the subaltern can speak.