Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Silva, Josemeire Caetano da |
| Orientador(a): |
Caiado, Roberta Varginha Ramos |
| Banca de defesa: |
Moraes, Antônio Henrique Coutelo de,
Souza, Fábio Marques de,
Rocha Júnior, Dario Brito,
Gomes, Robson Teles |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Católica de Pernambuco
|
| Programa de Pós-Graduação: |
Doutorado em Ciências da Linguagem
|
| Departamento: |
Departamento de Pós-Graduação
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://tede2.unicap.br:8080/handle/tede/1919
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Resumo: |
The plurality of media and semiotic resources present in digital environments and in the texts that circulate in them, especially on social networks, are challenging for scholars and researchers in the field of Language Sciences. The research on screen brings the study of the genre AU (Alternative Universe), which corresponds to fictional textual production in digital media, Fic, transmuted on Twitter, also covering the production of drawings (FANARTs), image manipulations (EDITs) and fan-produced videos, Fan Motion Videos (FMVs). We emphasize that the gathering of more than one genre of fans was called AUs+ in our study. We start with the questions: how, from the perspective of Bakhtinian Carnivalization, is the AU genre, transmuted from Fic, constituted on Twitter?; how to relate ethical and aesthetic acts, dialogically, to the world of life and the world of culture, in the AU genre, about K-Pop Culture on Twitter?; and how can we identify a queer language and/or approach in the AU genre? Our general objective is to investigate the carnivalized AU genre on K-Pop Culture on Twitter. Specifically, our objectives are: (i) to relate the categories: Laughter, Vocabulary and Grotesque Image of Bakhtinian Carnivalization to the genres of K-Pop Culture fans on Twitter; (ii) identify dialogical aspects of the ‘responsible act’, ethical and aesthetic, in the genres of K-Pop Culture fans on Twitter; and (iii) analyze the characteristics of a queer approach in K-Pop Culture fan genres on Twitter. Our theoretical contribution corresponds to Bakhtinian and Circle studies on language/language, dialogism, ‘responsible act’, speech genres and Carnivalization (Bakhtin, 2002; 2011; 2015; 2016; 2018; 2020; Voloshinov, 1976; 2013; 2017; 2019; Medviédev, 2018); studies on sexuality and gender (Foucault, 2023; Butler, 2022; 2023); to queer studies (Borba, 2020; Colling, 2007; 2015; 2018; 2021; Santos Filho, 2021; Sierra, 2019; Miskolci, 2012; Preciado, 2022; Haraway, 2023); and studies on digital social networks (Recuero, 2020; Bobsin; Hoppen, 2014). Methodologically, we decided for qualitative research, of the bibliographical, netnographic and reflexive type, using DTA (Discursive Textual Analysis), which consists of a multiple-faceted constructive process, which follows four steps: data collection; data systematization; halt; and data categorization, by selecting Twitter profiles of K-Pop Culture fans who produce the AUs and AUs+ genres. To this end, we followed the following action strategies: (i) select AUs and AUs+, in the digital social network environment on Twitter; (ii) relate the categories Laughter, Vocabulary and Grotesque Image of Bakhtinian Carnivalization to the genres of K-Pop Culture fans on Twitter; (iii) identify dialogical aspects of the ‘responsible act’, ethical and aesthetic, in the genres of K-Pop Culture fans on Twitter, concerning the categories: Ethical Act, Aesthetic Act, World of Life and World of Culture; and (iv) analyze the characteristics of a queer approach in the genres of K-Pop Culture fans on Twitter, with the categories: Sexuality Issues, Gender Issues and Queer Language. Therefore, our research is considered emerging in linguistic studies, since, in our results, we found elements that reiterate the theoretical-methodological support used for each category listed a priori, which we were able to confirm based on the results obtained with the analysis of the subcategories listed a posteriori for each of our three studies. Our results confirm: (i) ridicule; irony, joy and jokes towards certain characters; derogatory tones; rudeness; creative freedom; insulting compliments; hyperbole; sensuality; irony and fun in language; presence of masks and costumes in AUs; (ii) semantic and axiological aspects; responsive attitudes; lived experiences; artistic creation; exteriority of the subject; interchangeable relationship between word and image; emotional-volitional aspects; otherness; artistic manifestation and cultural identity in the excerpts of the AUs analyzed; and (iii) sexual orientation; body styling; performance; performativity; regulatory mechanisms, cultural construction, desire; and language LGBTQIAPN+∞; We highlight our social contribution, with the LGBTQIAPN+∞ theme, which requires a more humanized vision, to resolve conflicts involving prejudice and lack of tolerance towards the Community and its supporters. |
