Analysis of Liana Bittar's Text

The correct answer is option A. C) Intertextuality, by retrieving verses from song lyrics.

1. The Central Persuasive Strategy

The author constructs her text not only talking about music, but using The music itself is seen as part of its language. To persuade the reader of the importance of songs, she interweaves her argument with a series of quotations and allusions to verses from iconic Brazilian songs. This dialogue between her text and other texts (the lyrics of the songs) is the definition of intertextuality.

2. Identifying Intertextuality in the Text

We can identify several clear references:

• **"It's preferable to be this constantly changing being..."**Quote from "Metamorfose Ambulante" by Raul Seixas. * **"It's wood, it's stone, it's the end of the road"**Quote from "Águas de Março" by Tom Jobim. * **"You are in the lantern of the drowned"**Quote from "Lanterna dos Afogados" by Paralamas do Sucesso. * **"Get up, dust yourself off, turn things around"**Quote from "Volta por Cima" by Paulo Vanzolini.

By using these verses, the author doesn't need to describe feelings of change, despair, or overcoming. She evokes these feelings directly in the affective memory of the reader familiar with the songs, making her argument much more powerful and persuasive.

3. Evaluation of Other Alternatives

• A) contradiction, in associating a broken heart with joy: Incorrect. The text does not present a logical contradiction. It describes a sequence of events: the heart is broken, but The music (samba) arrives and brings back the joy. It's a process of overcoming, not a contradiction.

• B) metaphor, when citing the image of the walking metamorphosis: Incorrect. The "walking metamorphosis" is, in fact, a metaphor, but it's part of a quotation. The main strategy isn't the use of a single metaphor, but the use of... multiple citations from other texts.

• D) enumeration, when mentioning different musical rhythms: Incorrect. The enumeration of rhythms (lambada, sertanejo, funk) is a secondary resource, used to give examples of musical diversity. The main structure of the argument lies in the quotations.

• E) Hyperbole, when speaking of "suffering," "tragedies," and "drownings": Incorrect. "Afogados" is part of a quotation. "Sofrência" and "tragédias" are used to describe real feelings and difficult situations, not necessarily as intentional exaggerations (hyperboles).

4. Conclusion

The main resource the author uses to defend her thesis and create an emotional connection with the reader is... intertextuality, weaving her chronicle with fragments of the very subject she extols: Brazilian popular music.