As narrativas das gotas d'água pós-modernas: Sex and the City e o fantasma do amor romântico

• Ano de defesa: 2009
• Autor(a) principal: Bruschi, Michel Euclides
• Orientador(a): Guareschi, Neuza Maria de Fátima
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul; Porto Alegre
• Palavras-chave em Português: PSICOLOGIA; COMUNICAÇÃO DE MASSA; SÉRIES DE TELEVISÃO - CRÍTICA E INTERPRETAÇÃO; PÓS-MODERNIDADE; ROMANCE - ASPECTOS SOCIAIS; NARRATIVA
• Link de acesso: http://hdl.handle.net/10923/5021

This study is about incredulity in relation to meta-narratives and the production of micro-narratives in post-modern society. This issue has been problematized from the narrative turn, which in the early 80’s stopped considering human knowledge as a meta-narrative with a coherent, universal perspective of reality, to regard it as a plurality of local, personal micro-narratives that are constantly being socially and psychologically constructed. This study is an attempt to understand how characteristics of meta-narratives are still found in post-modern micro-narratives. In order to do so, five episodes of the TV series Sex and the City were analyzed. These episodes were selected because they show characteristics of meta-narrative of romantic love in their plots. The aim was to investigate micronarratives produced by the main character, Carrie, from her conflicts with the meta-narrative of romantic love, focusing on the way she relates with romanticism, keeping it, breaking it through her offs, and the consequences of her actions. For this discussion, this work used the perspective of Social Constructivism, as shown by Íñigues, along with post narrative turn perspectives about narrative, with an emphasis on authors such as Brockmeier, Harré and Bruner, and the analysis methodology of narrative structure according to Turner, in articulation with concepts of transactional self, by Bruner, and off, by Doane. From the reflections on the non-belief of romantic love as meta-narrative and the emergence of some of its characteristics in the micro-narratives constructed by Carrie, this thesis shows that, despite post-modern narratives are not an eternal, universal truth, they have some aspects in common with meta-narratives. Even in times of incredulity as to meta-narratives, they have managed to survive in a fragmented world of micro-narratives and have often emerged stronger than ever.Finally, the very research subverts itself in an attempt to think about what will emerge from works about audiovisual productions studied from the perspective of the narrative turn and its writings.