Silva, Francisco Ivan daCarvalho, Francisco Israel de2018-05-162018-05-162017-05-31CARVALHO, Francisco Israel de. A imagem barroca de Carmen Miranda no cenário da modernidade. 2017. 378f. Tese (Doutorado em Estudos da Linguagem) - Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2017.https://repositorio.ufrn.br/jspui/handle/123456789/25218The purpose of this work was to focus on the artistic image of Carmen Miranda, singer, actress and Portuguese-Brazilian comedian, as a symbolic representative of the national identity, from the beginning of her career in Rio de Janeiro in 1929 and as a representative of the Latin America in the United States, starting in 1939. We sought to insert it in the context of modernity, when popular and Afro-Brazilian expressions joined forces to consolidate the "invention of samba" as Brazil's cultural heritage. Carmen Miranda was the main female figure who contributed to the construction of these historical facts agencies, for the emergence of what would become Brazilian popular music. Giving voice to the sambas and marches produced by the suburbian composers of the hill and white composers, as well as being one of the main stars of the first Brazilian sound films, called carnival movies. The essence of this work is to emphasize the "baroque performance" of Carmen Miranda, supported by such theoreticians as, Afonso Ávila (1997), Afrânio Coutinho (1994), Eugênio D´Ors (1990), Gilles Deleuze (1995, 2005), Irlemar Chiampi (1998), José Antonio Maravall (2009), Lezama Lima (1988), Omar Calabrese (1987), Severo Sarduy (1979. 1999), and Brazilian music scholars such as José Ramos Tinhorão, Tárik de Souza, among others. Based on these premises, we conclude the research, proving that Carmen, through her International Baiana, creates new symbolic signs about the concept of nation and Latin American identity by transforming her costume design, recycling, joining in her artistic performance elements of culture Popular, Baroque, resized by surplus, caricature, waste, luxury and stylization. A character that catalyzes the opinions of unanimity and divergence regarding the title of "Ambassador of Samba", she appropriates the Brazilian (internal) and American (external) cultures anthropophagically by bringing a new, unique, neo-baroque performance, being responsible for the baroqueization of these cultures and influencing an entire generation later.Acesso AbertoCarmen MirandaCarnavalizaçãoSambaCinemaBarrocoAntropofagiadoctoralThesisCNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA