PANEM ET CIRCENSES: Dialogical Imbrications In Advertising and Journalistic Speeches Of the 2014 World Cup

Rate this post


LIMA, Daniella Oliveira de [1], CARVALHO, Helba [2]

LIMA, Daniella Oliveira de. CARVALHO, Helba. PANEM ET CIRCENSES: Dialogical Imbrications In Advertising and Journalistic Speeches Of the 2014 World Cup. Revista Científica Multidisciplinar Núcleo do Conhecimento. Year 06, Ed. 04, Vol. 10, pp. 05-37. April 2021. ISSN: 2448-0959, Access link:


We aim to analyze, from the concepts of Bakhtin and the Círculo, dialogism, chronotopia, the value of verbal, visual and sound languages, ethical and aesthetic values and carnivalization, which underlie the statement of the campaign “Cidades Viajando”, produced by Agency África and sponsored by Banco Itaú, for the 2014 World Cup, printed on its soundtrack and in its video. To carry out this study, theoretical research was done on indexed journal databases, in books, newspapers, researches, videos, among others, which gave us foundations to document the facts analyzed, based on the dialogical theory of language, under the postulates of Bakhtin and the Círculo (1981), Berti-Santos (2012, 2014, 2015, 2016), Fiorin (2016), among others. In order to achieve this objective with theoretical and contextual basis, the present work proposes to rescue important concepts of language, ethics and aesthetics within the advertising discourse. Through this study and comparations, we conclude that, in an utterance, whether journalistic, advertising, however impartial ly the author applies, there will always be his opinion imbriated.

Keywords: Dialogism, chronotopia, ethical, aesthetic, advertising discourse.


In 2007 (Annex 1), FIFA (International Football Federation) announced that Brazil, as the only South American competitor by decision of CONMEBOL; and for wanting to take the event to other continents, would host the 2014 Football World Cup. The country enters a desvaida euphoria, witnessing an entire transformation, such as the construction of huge stadiums, the recovery of airports, roads streets, avenues and means of transport, generating an opulent demand to national coffers.

Here, there is a division of opinions, as we see in this article (KFOURI, 2014): on the one hand, those who believe that all this effort, dedication and money should be employed in health, transportation and education and that it was not a time for such solemnity, using the jargon “There will be no world cup”, and on the other, those who throw themselves headlong into the party and the dream of seeing the National Team consecrate themselves , on national soil, untying a knot stuck since 1950, when, also here in Brazil, the national team lost the final to Uruguay.

We can elucidate this division in the following moments: one of them in research done by UOL (Universo Online) in (UOL, 2014) that shows us that: spending and waste of money, corruption and embezzlement were the negative points mentioned by the interviewees, as well as the values injected in the construction of huge stadiums (Annex 5), which would become obsolete in the near future , exemplified in the Newspaper O Estado de São Paulo, dated June 29, 2014, illustrated in Annex 2.

The TSE (Superior Electoral Court) found that the amounts spent on election campaigns in 2014 would cost three World Cups. The difference is that the World Cup was mainly funded with public money and election campaigns, with donations made by companies (BALZA, 2014)

Among the positive points to bring the World Cup to Brazil, what stands out most is the generation of jobs, which begins as temporary, but the chance of implementation is great.

It is on this occasion that advertising companies use their artifices and their skilled creative professionals, to aim at the heart of the Brazilian fan: passionate, momentarily blind, focused on fun, joy, celebrations, cheering, in the union for a single goal; in accurate, exciting, engaging and accurate campaigns. Banco Itaú, through Agency África, created a campaign with such an influential idea for the 2014 World Cup, “Cidades Viajando”, whose soundtrack “Mostra tua força, Brasil”, which composes it, became the informal anthem of such a World Cup. There were millions of hits and downloads, such success of the campaign.

Itaú brought as protagonists in its campaign, “Cidades Viajando”, in the 2014 World Cup, three of the passions of the Brazilian people: football, music and the party. A triad that creates a bond of friendship, companionship and fraternization between people. All united in one purpose: selection.

In order to proceed with this study and analyze the “corpus”, we start from the concepts of Bakhtin and the Circle that deal with dialogism, chronotopia, value tone of verbal, visual and sound languages, ethical and aesthetic values and carnivalization, which underlie the utterance, of the campaign “Cidades Viajando”, produced by Agência África and sponsored by Banco Itaú, for the 2014 World Cup, printed on its soundtrack and in its video (ITAÚ, Cities Traveling, 2014). To this end, we intend, at first, to deal with the theoretical basis that will underlie the analyses, then present the “corpus” and proceed to its description, in order to then analyze it in the light of the theory.

This study is linked to the research line Text discourse and teaching: processes of reading and production of written and spoken text and to the research group Theories and discourseand textual practices, is aligned with the project Practices, Reading and Writing: Theoretical, Methodological and Technological Aspects, of the Master’s Program in Linguistics of the University of Cruzeiro do Sul.


In this work we aim to analyze how, in a turbulent political-economic scenario, the value tone of the verbal, visual and sound languages that the campaign brought to the statement, caused thousands of users to access the video and download the soundtrack of advertising.

We also aim to analyze in the video, through the value tone and ethical and aesthetic values in “Cidades Viajando” — how, for this message to make sense, at some point Brazil was considered weak, diminished, despised, without force. Based on the Baktinian principle that every utterance is dialogical. It is constituted from another utterance. In it we hear two voices: his and the one in opposition to which he is built. (FIORIN, 2016, p. 27)

Another point to be investigated is the principle of carnivalization, which underlies the statement, in a political moment of presidential re-election, in a troubled scenario and amid allegations of corruption and investigations of the CPI on spending and dismemberment, imbued with the euphoria of the 2014 World Cup, which can be verified in the reports : “Fifa oficializa hoje Brasil como sede da Copa de 2014”, “Governo amplia uso do FGTS”, “Obras engatinham e ninguém sabe quanto o mundial custará”, “Planalto e PT agem para evitar onda de violência na Copa e dano eleitoral”, “Governo prepara campanha publicitária para defender realização da Copa no País”, “Lula faz embates para preservar Dilma até a Copa”, “O destino das Arenas”, because, according to Bakhtin,

Carnival is a grand universally popular worldview of the millennia past. This worldview, which frees from fear, brings the world of man and man’s man to the maximum (everything is translated into the zone of free family contact), with its contentment with the changes and its joyful reactivity, is opposed only to the unilateral and gloomy official seriousness, generated by fear, dogmatic, hostile to the processes of formation and change , aimed at absolutising a given state of existence and the social system. (BAKHTIN, 1981, p. 173)

This research is justified, within this dialogical principle of concrete utterances, by the search for relations of meaning, in order to verify if there is a message behind the message, a voice constituting other dialogical and dialectical voices, since 2014 was the year of re-election to the presidency of the republic. All together, in green and yellow, with the “hashtag#issomudaojogo, at the end of theadvertisement can constitute another meaning to the utterance?

As “corpus” for this research, we analyzed the advertising piece “Cidades Viajando”, sponsored by Banco Itaú, through Agency África, for the 2014 World Cup, cujthe soundtrack became the informal anthem of the World Cup. As part of the verb-visual sound analysis, in addition to the publicity piece, we analyze the lyrics of this track, in order to verify how the imbrication of utterances, dialogues, can lead to the constitution of meanings and underlying discourses.


To carry out this study, we conducted a theoretical research on indexed journal databases, in books, newspapers, research, videos, among others, which will give us the basis to base the analyses and document the facts analyzed.

We performed an analysis based on the dialogical theory of language, based on the postulates of Bakhtin and the Círculo (1981), Berti-Santos (2012, 2014, 2015, 2016), Fiorin (2016) among others. As categories of analysis, we selected: dialogism; ideology; chronotopy; value tone; ethical and aesthetic values; carnivalization; axiology to support and support both the analyses and the justification of this research.


A piece, when it is created, however impartially the author applies on it, there is always its impression, feeling, sensation at some point, implicit or even explicit, either by its life experience or by its knowledge and competence.

The information, which was thought to be exempt and neutral from the participation of those who produced it, bears the author’s marks and its axiological posture is evidenced in the materiality of the utterance. Most newspapers are part of this context, because they need to guarantee the circulation and maintain their readers and for this end up manipulating the attention of readers, reaching them sensorially, emotionally, not necessarily serving as a means of building their opinion, but end up manipulating their reading and opinion, leading the reader through the verbal or verbal materiality of the utterances , by the compositional and architectural shape of the aesthetic object. (BERTI-SANTOS, 2012, p.83)

Thus, the author often renounces linguistic and verbo-visual resources to approach the spectator, using a more popular language, positioning himself more clearly.

Bakhtin (2011, p. 173 – 175) has as one of its principles, dialogism, that is, every utterance is dialogical and heterogeneous and, we hear in it at least two voices, even if they do not manifest themselves clearly: that of the utterance and that in opposition to which it was built, leaving us explicit that every utterance is firmed from another utterance. It is the relations of meaning that are established between them. The utterances are not just words, but every load of emotion that comes with them. Therefore, Bakhtin (2011) believes that utterances are unrepeatable, carrying with them their own appreciation and intonation.

Another aspect of bakhtinian theory is the ethical and aesthetic values employed in an utterance. For Bakhtin (2011, p. 5 – 20), there is no alibi in existence. We are all ethically and aesthetically responsible and responsible for our actions and our words. Thus, every utterance produced, the author responds and is responsible for what he says.

Every utterance is loaded with beliefs, experiences, feelings, sensations and values of the author, giving the utterance the value tone, fundamental for the ethical and aesthetic modeling, either based on evidence or based on belief, according to Bakhtin’s thought (2011, p 173 – 177). At the moment of producing an utterance, the creator author uses his knowledge of linguistics, politics, football, etc., which is the part that will be active at that moment, the professional. However, the personal side, person author, is not discarded, only embedded, because it is he who will bring ethical and aesthetic values, showing his choices, thus shaping the value of the utterance.

When we look at each other, two different worlds are reflected in the pupil of our eyes. Assuming the right position, it is possible to reduce to a minimum this difference of horizons, but to eliminate it entirely, it is urgent to merge into a single whole and become one person. (BAKHTIN, 2011, p. 21)

By observing a person, we can see and perceive intangible aspects on their own. Its expression, its gaze and several other aspects that only the other can achieve.

Often, in the observation of the other, or in the constitution of an utterance, there is often the contamination of experiences, impressions and values acquired, in short, from the other’s gaze. These are the axiological values that are evidenced. The surplus of vision that the other lends to the constitution of the meanings of the utterance (BAHKTIN, 2011, p. 93 – 102).

For Bakhtin (BAHKTIN, 2011, p. 24), to enter and experience the feeling of the other, without assimilating as our own feeling, is to be able to give a word of comfort and help. It is to have a real observation of feeling, exotopia, my vision surplus by analyzing each other. Otherwise it would just be contamination by the feeling itself and only. How do others see me that I can’t see?

The conception of Carnivalization (BAHKTIN, 1981), which, different from what we have in mind, of parties, parades and samba schools, for the author is a moment of utopia, when people extinguish the hierarchy and value for freedom, equality, abundance and universality.

Carnivalization is characterized by people gathering in the streets, creating deep ties with popular culture. Plurality allows mixing the new and the old, the sublime and the vulgar, the sacred and the profane, the beautiful and the ugly.

Chronotopia and exotopy, it is how Bakhtin (2011, p. 180 – 185; 225 – 228) names the relationship of time and space, which are inseparable and that there are different ways of conceiving them. For some, time is cyclical, for others, it is linear and irreversible. They allow the author of the utterance to observe the work from a certain distance, surplus of vision, providing an overview of time and space.

Bakhtin (2011, p. 262 – 306) calls as the genres of discourse, the selection of lexical, phraseological and grammatical resources of the language, but first, for its compositional construction. The three elements — thematic content, related to the themes that are constructed in the utterance; style, which is a trait of the utterance that gives identity to the announcer and his social group; and compositional construction, which is the linguistic organization of the utterance and gender — are linked in the whole of the utterance and each field of use of the language elaborates its relatively stable types of utterances. Bakhtin approaches language in two inseparable spheres: human activity and the use of language, which take place in the form of oral or written utterances. In Bakhtinian philosophy, the object of study is dialogue, widely understood as any category of communication. They are indispensable pieces in an utterance, the announcer and the interlocutor, who are responsible for giving meaning to it and, this attitude between announcer and interlocutor, always generates an active responsive attitude.

To study ideology, Bakhtin and Voloshinov (2001) took everyday life as a starting point because they considered it extremely rich. In Bakhtin’s conception (2006), every sign that carries a point of view, a value of a social class, is ideological. Whenever there is the expression of a position, not just an idea, it is characterized by ideology.


Banco Itaú is a private financial institution with more than 90 years of tradition. According to the company’swebsite (ITAÚ, Relations with the Press, 2013), Itaú launched in 2013 the #issomundaomundo campaign, for causes that the bank supports, and contribute to transforming the world into a better place, such as people making better financial choices; to be an increasingly digital bank; through the Itaú Social Foundation and Unibanco Institute, create improvements in education; Itaú Cultural and Espaço Itaú de Cinema, working in the area of culture, promoting events and shows available to all; in addition to sponsoring the Brazilian national team since 2008 (ITAÚ, Institucional, 2013)

Everything that is ideological has a meaning and refers to something situated outside of itself. In other words, everything that is ideological is a sign. Without signs, there is no ideology. A physical body is worth it for itself: it means nothing and coincides entirely with its own nature. (BAKHTIN, 1999, p.30)

Using this ideology, Itaú promotes, for the 2014 World Cup, the campaign #issomudaojogo, in which it reinforces the causes it supports, and also points out that the fans of each Brazilian is fundamental and able to change the world for the better, with the theme Mostra Tua Força, Brazil, where Brazilians, from all regions of the country, leave their homes, towards maracanã, in Rio de Janeiro, to cheer for the Brazilian national team.

The year 2014, in Brazil, was marked by a turbulent political-economic scenario. In October of that same year, we went through a re-election to the presidency of the republic and the country already showed signs of crisis and decline of the economy, as shown in Annex 3. The phrase that was used at the time by the Brazilians was “Imagine in the World Cup” (Appendix 09), for any disorder that occurred in the cities. Floods, power outages, problems with public transportation, and demonstrations that were already taking place against the government, which were larger, and pro-government.

As a possible way to divert the population’s attention to corruption and mitigate these signs of economic decline, the government, represented by Dilma Rousseff, provides sustenance and fun, injecting astronomical values in social and welfare levels, as well as incentives exacerbated by the World Cup. It is the so-called politics of Bread and Circus (Annex 4), (this phrase, from latin panem et circenses, which originated in the X satire of the humorist Juvenal (DIAS, Anderson. Bread and Circus Politics) (Annex 12) who was born in Rome, and criticized the lack of information of the Roman people, who had no interest in political affairs and were content with fun and food.

Dictators, and Consuls, Praetors. All the positions we gave sublime: theater and bread is our afã now. They say there are many convicts? I do not doubt, the lit volcano exists (JUVENAL, s.d, p. 95).

In the “corpus“, we found a population mostly middle class, upper middle, identified by means of transport and communication, housing and costumes. Beautiful, cheerful and smiling people would also indicate which profile of Banco Itaú’s clients. A population focused on cheerleading, partying, joy, celebration. This imbrication of dialogisms can be proven by the reports with political theme of the time, and these will be the subject of analysis, with the campaign “Cidades Viajando”, in order to verify our objectives.


We will proceed to a dialogical analysis of the discourse (ADD), based on the postulates of Bakhtin and the Circle, analyzing some categories of these theorists such as: dialogism, chronotopia, the value of verbal, visual and sound languages, ethical and aesthetic values, genres of discourse and carnivalization, which underlie the utterance, of the campaign “Cities Traveling” , produced by Agency África and sponsored by Banco Itaú, for the 2014 World Cup, printed on its soundtrack and in its video, comatose with reports of the period, with a political character.

Within the ADD, first, we will make a description of the “corpus“, then we will commend the categories of analysis with theelements foundin the “corpus” and then proceed to the interpretation of the utterances, so as to constitute meanings.


The play begins with the population waking up before sunrise. We notice a lot of willingness, joy and euphoria, different from what happens in the daily life of those who wake up very early going to work, for example.

We observed inhabitants of all regions of Brazil, by the scenarios presented: Southeast region, represented by large buildings and large metropolises; northeast region, represented both by dunes and by aridity and cactus vegetation; the Midwest region, represented by cattle; the Northern region represented by the river and the Southern region represented by the train, vegetation and costumes of the actors.

There is also a wide variety of means of transport and movement: an excess of people traveling by car, train, horseback, “boogie“, boat, bus, bicycle, “skate“, wheelchair, walking and even balloon, dressed in green and yellow, with the flag of Brazil in hand, following on the same path, towards Maracanã, in Rio de Janeiro, to cheer for the Brazilian national team. A real carnival celebration.

“Carnivalization builds a utopian world, in which freedom, equality, abundance, universality.” (FIORIN, 2016, p. 105)

This great celebration, in Bakhtin’s conception, demarcations the concept of Carnivalization. For him, Carnival is not a party that is witnessed, but that one lives. Every kind of hierarchy of inequality is extinguished. It’s a street party, the people’s party.

Life goes backwards, the world reverses itself. Bans, restrictions, barriers, norms that organize social life, the development of normal existence are suspended. Hierarchies and all forms of fear that it entails, veneration, piety, etiquette are overturned. It softens everything that is dictated by social inequality or any other form of difference (age, sex, etc.). The distance between people is over. Contact is free and familiar. Gestures are freed from coertion and the speech is frank. Carnival creates a type of human relations, which is opposed to the sociohierarchical relations of normal life. The conducts, the gestures, the words are released, therefore, from the hierarchical dominations. They become eccentric, displaced, from the point of view of the usual logic. (FIORIN, 2016, p. 100)

Another determining aspect in the piece is the locution. The speaker’s voice is firm, cozy, conveys security, joy and euphoria. It convinces us that we really #issomudaojogo.

But how do you define the announcer? If the word does not belong to it entirely, since it is located in a kind of border area, it is, however, a good half. At a certain point, the announcer is undoubtedly the sole owner in the word, which is then his inalienable property. It is the instant of the physiological act of materialization of the word. (BAKHTIN, 1999, p. 113)

The soundtrack is also fundamental to effect the success of the campaign. It is an engaging music, easy to memorize, with simple words, but that drive the Brazilian to cheer for the selection.

“Mostra Tua Força, Brasil”

Lyrics (Jair Oliveira); interpreters: Paulo Miklos and Fernanda Takai).

Vamos soltar o grito do peito.
Deixar o coração no jeito.
Que aí vem mais uma emoção!

Vamos torcer e jogar todos juntos.
Mostrar novamente para o mundo.
Como se faz um campeão.

Pois, só a gente tem as cinco estrelas na alma verde amarela.
E só a gente sabe emocionar cantando o hino a capela… (Pátria Amada, Brasil).

Mostra tua força Brasil
E amarra o amor na chuteira.
Que a garra da torcida inteira,
Vai junto com você Brasil.

Mostra tua força Brasil
E faz da nação sua bandeira.
Que a paixão da massa inteira,
Vai junto com você Brasil.

Mostra tua força Brasil
E amarra o amor na chuteira.
Que a garra da torcida inteira,
Vai junto com você Brasil.

Todos os corações no mesmo lugar.

Isso muda o jogo.

This campaign, with its verb-visual-sound utterances will be compared with the reports:“Fifa oficializa hoje Brasil como sede da Copa de 2014”, “Governo amplia uso do FGTS”, “O destino das Arenas”, “Obras engatinham e ninguém sabe quanto o mundial custará”, “Planalto e PT agem para evitar onda de violência na Copa e dano eleitoral”, (Annexes 1, 2 , 3 and 5) and with the photos of Annexes 10, 11 and 12, in order to seek to verify whether the postulated objectives can be proven or refuted.


As we assume that every utterance is dialogical and talks with another utterance, we notice, at the beginning of the video, that there is a stretch of sunrise, which can be associated with the Big Bang theory, which is the instant when all matter and energy arose. It’s the origin of the universe. (Annex 6). As if a new reality were to emerge from that moment on.

Sometimes, when people without culture read without art a novel, artistic perception is replaced by the dream, not by a free dream but predetermined by romance, a passive dream, and the reader penetrates the central character, abstracts himself from all the elements that give him a finish, first of all, of the external image, and experiences the life of this character , as if he himself were the hero of this life. (BAKHTIN 2011:27).

In the “corpus“, the population wakes up and wields the Brazilian flag as if it were a combat weapon, the means of transport, as tanks of war. The Brazilian flag, to Bakhtin’s understanding, becomes a sign. It ceases to have only the original meaning of it, isolated, as a flag only. It becomes the force, the defense, the battle weapon. In addition, Brazilians paint their faces green and yellow to show their support for the Brazilian national team.

Similarly, in the 2014 demonstrations against the government, Brazilians take to the streets covered with their flags, whistles, horns, often with their faces painted, referring to the circus, to the antics that took place in the then Brazilian political-economic scenario.

In both situations (in the images of the “corpus” and in the images of the manifestations) people act together, together, as ants, organized, following the same ideal, the same direction. If you look at the cars, the buses, boogies, the population on the streets, they look like ants working, going the same way. (Annex 7)

The above mentioned data are characteristics of Carnivalization, the sphere of utopian freedom, the absence of hierarchy, which allows the repressed to express themselves, all together in the same ideal.

Dialogically, also, the lyrics of the song that accompanies the video, presents us with other statements, which can be recovered by the cultural baggage of the subjects, as we see below:

“Let’s let go of the chest cry, let the heart stay the same, that’s another emotion.”, that is, this expression “cry stuck in the chest” can be associated, chronotopic and exotopically, with other socio-historical discourses experienced by the Brazilian people, namely:

  • Be a consequence of the final of the 1950 World Cup, also based in Brazil that, after the stoppage of the event for 12 years, due to the Second World War (1939 – 1945), which severely reached some countries, reducing the participation of 72 affiliated delegations, to only 13 participants, and the Brazilian team, great (Annex 8), lost the final to Uruguay (Globo, GE). The political context of the country in the 1950s was similar to what we went through in 2014. Exchange of political command: Brazil lived the Estado Novo (1937 – 1945), under the dictatorial regime commanded by Getúlio Vargas, who mirrored Hitler with his totalitarian and Nazifascist command. Eurico Gaspar Dutra began his government (1946 – 1950) in a transitional period between the end of World War II and the first signs of the Cold War and football, was considered the “opium of the people” and Brazil was quickly elected home to the 1950 World Cup, that is, the politics of bread and circus, which had been repeated in 2014 , had already happened (UOL, Folha na Copa, 2013).
  • The incessant wait for the six-time championship. The last time Brazil was crowned world champion was in 2002, in Yokohama, Japan, when it became the first five-time world soccer champion. Therefore, this scream stuck in the chest, went through the disastrous 2006 World Cup, when Brazil, in a vexing game against France, lost by 1 × 0 and was eliminated in the quarterfinals (UOL, Esporte, 2006), in Germany; for the discredited 2010 selection of Dunga, who lost to the Netherlands, by 2 × 1, in South Africa (GLOBO ESPORTE, GE 2010); and finally in the 2014 World Cup in Brazil, with a young group, in which success came very early in their lives and, with it, the desperate 7 × 1 defeat to Germany, which tore Brazil violently out of Cup and kept that scream contained.

“Let’s cheer and play all together, show the world again, how a Champion is made.”, that is, this expression, cheering and playing all together can be associated, chronotopically, dialogically, also with other socio-historical discourses experienced by the Brazilian people, namely:

O povo dar seu sangue, sua vida, assim como à seleção, ao Brasil.

Torcer, ou seja, não ter a certeza da vitória.

The soundtrack is loaded with valuable tones and chronotopic recoveries of football experiences of the Brazilian people, starting with the title: “Mostra Tua Força, Brasil”.

It starts by verb in the affirmative imperative, in the second person of the discourse, to whom the subject is addressed, with whom one speaks directly. Brazil, as the listener of the utterance, metonymy of all the Brazilian people, who have been waiting for victory for a long time. It exalts the need for the country to show its power, dialogically talking to other statements of the moment, such as politicians, since at the time, we were living in troubled moments. The choice of verb, time and person are aesthetic forms chosen to highlight ethical issues of the country. Dialogically the people are called for victory in the games, strength and grit for sociopolitical internal struggles.

In the first verse,

Vamos soltar o grito do peito.

Deixar o coração no jeito.

Que aí vem mais uma emoção!

Initiated by a verb in the first person plural and a direct object, it calls on the people to go beyond their expectations regarding the Brazilian team and its performance in the last world cups. The direct object of the verb go is the prayer to release the chest cry which, as far as it is concerned, has as its direct object the chest cry. Letting out the scream, according to the Houaiss dictionary, removing what holds, untying, loosening, throwing, making it bigger, overflowing, screaming, hitting, making it work, among others, highlighting the needs of the people in relation to sport and sociopolitical life . Metonymically, chest represents citizens. The contained cry that cannot be uttered in the other cups, also the contained cry of the people in relation to the politics of that moment. The evaluative tone of the text suggests a demand from the people in relation to the country’s social and sports issues: let your heart stay the same, that is, prepare yourself for another emotion, ethically demanding an attitude from the country, both in the game and in society . This idea is reiterated throughout the text as in: Show again to the world, in which it is pointed out that we have already been victorious, by using the adverb of time again and is called upon to figure as champions we know we are, aesthetically implicit in the ethical demand that the expression makes the people and the players: how to make a champion.

Aesthetic choices imprint ethical values and show the authors’ valued position in relation to the attitude of citizens in relation to the moment:

Pois, só a gente tem as cinco estrelas na alma verde amarela.

E só a gente sabe emocionar cantando o hino a capela… (Pátria Amada, Brasil).

Dialogically, it recovers moral values, of panache of the Brazilian people, by resuming the five stars we have, metaphor of the five cups previously conquered, in addition to the constant grit and joy of the Brazilian people represented by the hymn sung to the chapel.

Ao final da trilha sonora, a frase

Todos os corações no mesmo lugar.

Isso muda o jogo.

It refers, dialogically and topically, to the 1970’s unbeatable anthem of the Brazilian national team in the world championships, “Para frente, Brasil”. Throughout this soundtrack, there are many dialogical relationships established with this anthem, recovered by the authors, as it is in the people’s affective memory, relating the 2014 World Cup to the 1970 World Cup memory, as we see below:

Pra Frente Brasil (Anthem of the 1970 World Cup)

Noventa milhões em ação

Pra frente, Brasil

Do meu coração.

Todos juntos vamos

Pra frente, Brasil, Brasil

Salve a Seleção!

De repente é aquela corrente pra frente.

Parece que todo o Brasil deu a mão.

Todos ligados na mesma emoção.

Tudo é um só coração!

Todos juntos vamos

Pra frente, Brasil, Brasil

Salve a Seleção!

Todos juntos vamos

Pra frente, Brasil, Brasil

Salve a Seleção!

Todos ligados na mesma emoção, tudo é um só coração“, for example, closes, categorically stating that this changes the game.

In Annex 1, this policy of Bread and Circus is clearly portrayed in the cover reports of The State of São Paulo, of October 30, 2007: “Fifa Oficializa hoje Brasil como sede da Copa de 2014” and “Governo amplia o uso do FGTS”, followed by the other and, automatically, one taking the attention of the other.

In addition, in this same Annex 1, a note draws attention to the fight between Aécio Neves and José Serra, for the opening of the 2014 World Cup in Switzerland. However, this headline dialogues with a dispute between the two politicians, in 2009, in which would be the nomination of the PSDB to the presidency of the Republic (UOL, Folha, 2009)

When a social group has a certain set of signs, Bakhtin calls universe of signs. In addition to the socio-historical sense and the physical-material sense of each sign, there is still the point of view of each of them, giving an ideological domain to the sign. As an example, in the “corpus“, the green and yellow, the Brazilian shirt, the Brazilian flag, are signs that received the ideological value, that is, it has meanings beyond the object itself. Bakhtin states that:

An idea is strong, true and meaningful if it knows how to touch essential aspects of the life of a given social group, one can clarify the fundamental position of this or that group in the class struggle. (BAKHTIN, 2001)

In Annex 12 we present an image of the “corpus” and an image of a demonstration against the government in 2013 in Santa Catarina. The images talk to each other, presenting in them some Bakhtinian concepts, that is:

  • The ideology, since in both, the crowd dresses in green and yellow and uses the Brazilian flag, for the same ideal. These objects become signs, since they take on another meaning besides their original.
  • Dialogism. Observing the two images, we see ramps, which refers to the ramp of the Planalto Palace, the home of the Brazilian Government, crowd following in the same direction, green and yellow, Brazilian flags, even ideal.
  • Carnivalization, which extinguishes hierarchies, differences and social inequalities. All actively participate in that act, both in the manifestation and represented in the “corpus“.
  • The value tone shows that the authors are at the side of the Brazilian people in this journey for change.

With this analysis, we briefly discuss the socioeconomic values of the country at that time, under the light of dialogical relations, ethical and aesthetic values, dialogism and carnivalization, imbricating sport and politics, social criticism and axiological posture of the Brazilian people, evidencing a national culture of the panem et circus.


First, when analyzing Bakhtin’s concepts, we verify that every utterance carries in itself, the value tone, the ethics and aesthetics of the author, however impartially he applies, that is, the lived experiences, feelings, opinions, however implicit they are in the text, they are present.

Another important point is the association of ideas constant in the hymns of the 1970 worldcups – Frente, Brasil and 2014 – Mostra your strength, Brazil, which carry socio-political tones of their respective scenarios.

Finally, this article exposes the socioeconomic values of the country at that moment, under the light of dialogical relations, ethical and aesthetic values, dialogism and carnivalization, imbricating sport and politics, social criticism and axiological posture of the Brazilian people, evidencing a national culture of the panem et circus – Bread and Circus.


BAKHTIN, Mikhail. Estética da Criação Verbal. 6ª ed. – São Paulo: Martins Fontes, 2011.

BAKHTIN, Mikhail. Marxismo e Filosofia da Linguagem. 9ª ed. – São Paulo: Hucitec, 1999.

BALZA, Guilherme. Campanhas eleitorais vão custar até três copas do mundo. Disponível em: Data de acesso: 10/02/2017

BERTI-SANTOS, Sonia Sueli. O ato ético e estético e a leitura. In: BERTI-SANTOS, Sonia Sueli (Org.) Teorias e Práticas de leitura: olhares e percepções. São Paulo: Terracota, 2012.

DIAS, Anderson. Política do Pão e Circo. Disponível em: Data de acesso: 09/04/2017.

FIORIN, José Luiz. “Introdução ao pensamento de Bakhtin.” 2. Ed. – São Paulo: Contexto, 2016 160 p

GLOBO ESPORTE, GE, Copa de 1950. Disponível em: Data de acesso: 02/02/2017

GLOBO ESPORTE, GE, 2010 – Brasil perde para a Holanda e é eliminado de novo nas quartas. Disponível em http: // Data de acesso 30/03/2021

ITAÚ – Cidades Viajando (Mostra tua força, Brasil), 2014. (02m01s). Disponível em: Data de acesso: 03/02/2017

ITAÚ, Imprensa, 2013. Itaú lança segunda fase da campanha #issomudaomundo. Disponível em: Data de acesso: 30/03/2021

ITAÚ, Institucional, Nossas Atitudes, Disponível em: Data de Acesso: 30/03/2021

KFOURI, Juca. Você está a favor ou contra a copa do mundo? Blog do Juca Kfouri – UOL, Junho de 2014. Disponível em: Data de acesso: 24/01/2017

UOL, Redação, Julho de 2014. Disponível em: Data de acesso:01/02/2017

UOL, Folha na Copa, 2013: Copa de 1950 também teve ambiente de manifestações sociais. Disponível em: Data de acesso 30/03/2021

UOL, Esporte, 2006, Disponível em https: // Data de acesso 30/03/2021

UOL, Folha, 2009 – Serra ironiza apoio de Aécio à presidência. Disponível em Data de acesso: 16/02/2017



Source: a/#!/20071030-41650-nac-1-pri-a1-not






















Source: (JUVENAL, Sátiras, p. 93)

Campaign Fact Sheet

Title: Cidades Viajando
Duration: 1×1’20/1×60/2×30
Advertiser: Banco Itaú
Product: Institutional

Copywriter: Guigo Oliva, Aricio Fortes
Art Director: Rafael Gil, Paulo Coelho
Creative Directors: Sergio Gordilho / Aricio Fortes / Paulo Coelho
General Creative Director: Sergio Gordilho
Production/Agency: Rodrigo Ferrari/ Alessandra Pais
Service: Celina Esteves, Cecilia Duarte, Rodolfo Campitelli, Heloisa Pupim and Anna Carolina Agnelli
Media: Luiz Fernando Vieira, Francisco Custódio, Paulo Ilha and Pedro Eustachio
Planning: Ana Paula Cortat, Marina Pires and Felipe Cruz

Producer/Film: Killers
Film production: Julia Tavares and crew
Direction: Claudio Borrelli
Executive Production: Julia Tavares
Photo director: Ted Abel
Editing: Marcelo Cavallieri and Claudio Borrelli
Post-production: Casablanca
Finishing: Andréia Figueiredo
Production service: Julia Tavares
Producer/Sound: S de Samba
Sound production: S de SambaTeam
Solo Singers: Paulo Miklos and Fernanda Takai
Voiceover: Mauro de Almeida
Service: Meg Ribeiro

Approval/Client: Fernando Chacon, Andrea Pinotti, Eduardo Tracanella, Juliana Cury and Cinthia Kato

Date of first insertion: 03/19/2014

It took 300 extras and at least 3 days of filming, according to information from the agency itself.

[1] Postgraduate in Cinema, Graduated in Advertising and Advertising.

[2] Guidance counselor. PhD in Philology and Portuguese Language

Submitted: March, 2021.

Appreated: April, 2021.

Rate this post


Please enter your comment!
Please enter your name here