A Sonoridade de Eros nas canções do Blues Clássico de Bessie Smith
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Abstract
The aims of this article is show how Bessie Smith's Classic Blues exemplifies the possibility of changes occurring through the aesthetic dimension. As references we will use the works Eros and Civilization: A Philosophical Inquiry into Freud, An Essay on Liberation and The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics, by Herbert Marcuse, in order to demonstrate how music presents a persuasive power over minds, souls and bodies of listeners. We will also use Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith and Billie Holiday, by Angela Davis, in which the Blues is present as the means for the expression and transmission of the ideas and thoughts of black women capable of provoking changes in African-American consciousness. Bessie Smith was one of the best-known singers of the Classic Blues and is featured in this article. The singer preserved in her songs an African heritage to be presented to African-American, and that served as an incentive to alternative models of behavior and attitudes toward the established.
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COLLINS, Patricia Hill. Pensamento Feminista Negro: Conhecimento, Consciência e a Política do Empoderamento. São Paulo: Boitempo Editorial, 2019, p.80.
DAVIS, Angela. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith and Billie Holiday. New York: Vintage, 1998, p.4 - 357.
_______. A Liberdade é uma luta constante. São Paulo: Boitempo, 2018, p.9.
MARCUSE, Herbert. An Essay on Liberation. Boston: Bicompress,1969, p.43
_______. Contra revolução e revolta. Rio de Janeiro: Zahar Ed., 1973, p.113.
_______. Eros e civilização: uma interpretação filosófica do pensamento de Freud. 8. ed. Rio de Janeiro: Zahar, 1981.
_______. The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics. Boston: Beacon Press, 1978, p.7 - 49.