VINICIUS JOSÉ FECCHIO GUERALDO

From a critical perspective named by Walter Benjamin as immanent criticism, the thesis seeks the way that the internal form of Chico Buarque's songs configures some of Brazilian contradictions, especially in the recent period, named, by some, as the New Republic. The analyses indicate an ambiguous stance of these songs in relation to the social matter worked, at least until the 1990s. After this period, precisely the moment of consolidation of the so-called redemocratization, the narrative focus of his work began to position itself from another perspective; thus exposing an unprecedented aesthetic strand in the author's vast repertoire: what was once distant support for the underprivileged, becomes a fierce criticism of an alleged economic and intellectual elite.