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www.facets.org. Censorship. It is interesting that when making a first reading, or hear them no more attention to the context in which they were produced, one has the impression of trivial complaints between friends and lovers. So you can get an idea of the content of the two compositions: I'll be away, but I know that I will return / Love do not cry if I return it to stay / Love do not cry that time is leaving / The Love forever now it gets. (Geraldo Geraldo Azevedo and Vandré - Farewell Song) Today you're the boss / spoke, ta spoken, no discussion / My people today is talking aside / And looking at the ground / You who invented sin / What invented invented / All darkness / You will pay and is folded / Every tear rolled / Of this my sorrow (Chico Buarque - While You). It is clear that censorship was not limited to popular music. We chose to illustrate censorship through music because it is easier to analyze and understand the subversive character of the same. Understand the use of metaphors that composers have made to circumvent censorship, even if it cost them the risk of imprisonment and torture, and have their works banned and collected. SEARCH the Search songs during the military dictatorship. Upon hearing them consider the following questions: As the song comes to freedom in Brazil during the military dictatorship. Establish comparisons between songs of that period and freedom in Brazil today. Present the results to the class. References Arendt, H. What is freedom? Between the past and the future 5th ed. Sao Paulo: Perspective, 2003. Barros, El. military governments. The Brazil from 1964 to 1985 - the generals and society the struggle for democracy Sao Paulo: Context, 1991. FAUST, B. History of Brazil / by Boris Fausto Brasilia: MEC / SEED, 2002. La Boetie, E. Discourse of Voluntary Servitude 4th ed. Sao Paulo: Brasiliense, 2001. OCKHAM, G. to. Brevilóquio on the principality tyrannical Traduçano and note Luis Alberto Boni. Petropolis: Voices, 1988. Sevcenko, N. The Renaissance 11th ed. Campinas: University of Campinas, 1988.
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Zanimljivo je da je prilikom prvog čitanja, ili slušati ih nema više pozornosti na kontekst u kojem su proizvedene, stječe se dojam o trivijalnim tužbama između prijatelja i ljubavnika. Tako možete dobiti ideju o sadržaju dviju skladbi: Ja ću biti daleko, ali znam da ću se vratiti / Ljubav ne plači, ako sam ga vrate ostati / Ljubav ne plači da je vrijeme izlaska / Ljubav zauvijek sada to dobiva. (Geraldo Geraldo Azevedo i Vandré - Zbogom Pjesmu) Danas ste šef / govorio, ta izgovorena, nema rasprave / Moji ljudi danas govori stranu / I gleda na terenu / vama koji je izumio grijeh / Što izmislili izmislili / Sve tama / Vi ćete platiti i preklopiti / Svaka suza uklonio / Od ove moje tuge (Chico Buarque - Dok si). To je jasno da cenzura nije bio ograničen na popularnoj glazbi. Izabrali smo za ilustraciju cenzuru kroz glazbu, jer je lakše analizirati i razumjeti subverzivni karakter ista. Razumjeti korištenje metafora koje su skladatelji napravio za zaobilaženje cenzure, čak i ako ih stajati rizik od zatvora i torture, i imaju svoja djela zabranjena i uzima. TRAŽI Traži pjesme za vrijeme vojne diktature. Nakon saslušanja ih razmotriti sljedeća pitanja: Kao u pjesmi pitanju slobode u Brazilu za vrijeme vojne diktature. Uspostaviti usporedbe između pjesama iz tog razdoblja i slobode u Brazilu danas. predstaviti rezultate u klasi. Reference Arendt, H. Što je sloboda? Između prošlosti i budućnosti Sao Paulo: perspektiva, 2003. Barros, El. vojne vlade. Brazil 1964 - 1985 - generali i društvo borba za demokraciju Sao Paulo: kontekst, 1991. FAUST, B. Povijest Brazil / Boris Fausto Brasilia: OIP / SEED, 2002. La Boetie, E. diskurs Dobrovoljnog ropstvu Sao Paulo: Brasiliense, 2001. Ockhamovoj, G. se. Brevilóquio na knežije tiranskog Traduçano i bilješka Luis Alberto Boni. Petrópolisu: Glasovi, 1988. Sevcenko, N. Renaissance Campinas: Sveučilište Campinas, 1988.