Abstract
This paper investigates how the poetics of the song, from the perspective of the voice of the subjects of songs, may assist in the discussion about the fluid categories of truth and falsehood. Intensifying the discussion, which is located on the border between fiction and reality, such characters are the possible proposition of the investigation, since they straddle the boundary. One of the most radical characteristics of the truth, cousin-sister of the reality, is to be uncatchable. The truth, in the sense of essence, is impossible to be perceived, as it proliferates in various unsuspected directions, hindering the apprehension of its source. However, supported by the hegemony of a philosophy that has basis in a voiceless logos, we have gone through times in search of a clear logic. Analyzing the speech, the three voice subjects - the songs: “Rock’n’Raul”, by Caetano Veloso, “Para mano Caetano”, by Lobão, and “Lobão tem razão”, also by Caetano, following the chronology of their composition – the goal is to understand the song (existential) within the three suggested songs: the metasong construction, what is behind the surface of what is sung. Or rather, what makes the surface to be profound. This essay is crossed by close and analytical reading of the essays in the book Criticism and Truth by Roland Barthes, and aims to launch contributions to what has been classified the semiotics of discourse.
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