Sociedade da imagem: a (re)produção de sentidos da mídia do espetáculo

• Ano de defesa: 2010
• Autor(a) principal: Medeiros, Caciane Souza de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; BR; Letras; UFSM; Programa de Pós-Graduação em Letras
• Palavras-chave em Português: Mídia; Ideologia; Imagem; Sentido; Arranjo simbólico; Image-driven society; Speech; Media; Ideology; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: http://repositorio.ufsm.br/handle/1/3966

In our work we tried to understand the ways in which media discourses, considering the production conditions of media practices as a part of a society marked by the profusion of images and by the (re)production of meanings. We anchor our theoretical and methodological ground on a discursive reading and analysis basis which understands the discourse as an effect of meanings between narrators (PÊCHEUX, [1975] 2009). From the Discourse Analysis we mobilized concept such as ideology, memory and interdiscourse, as guidelines for our process of methodological and analytical construction of media objects cut out for our study corpus. We apprehend that it is through ideology that one naturalizes whatever is produced by history and that it is through simulation (and not occultation) that transparencies are identified (ORLANDI, 2007). The corpus of our study object is constituted of sixteen printed cover publications (IstoÉ, SuperInteressante and VEJA magazines), versed on themes related to violence and childhood, through which we deal with thinking the concepts that constitute the western society history, such as knowledge-power, vigilance, control, modernity, urban space and spectacle. Our observation of discursivity in the media and its relation of (re)production of meanings took us to a reflection over a concept that we designate as a ‗symbolic arrangement/scheme . This theoretical-methodological-analytic concept corroborates with our hypothesis that to materialize and consolidate its position in the social axis, media mobilizes different textual materialities, among which we highlight image, in a discursivity substantiated by interdiscursivity, which means affected by the symbolic, by what already makes sense, by what already exists in a pre-constructed and socially legitimated social imaginary (PÊCHEUX, [1975] 2009). Therefore, we took into consideration the production conditions of the media daily practices which are constituted in a production related to the market and to consumption. Our analytical cutouts were casted from the stitching of the concepts of pre-constructed (the interdiscursive memory) and the paraphrastic networks (the resumptions to the same meaning marked in a stabilized regularity) to which we propose to give visibility, understanding that the paraphrase constitute the comeback to the same spaces of saying (ORLANDI, 1999). In our analysis, we worked on four cutouts through which we analyze the ideological bias that discursively approximates (therefore paraphrastic networks) versions on violence in the practice of printed media. Our analysis point out that the way of discoursing in the media is being constantly fed back from/by the already mentioned statements, which corresponds to saying that it resumes, dislocates, repeats and reorders memory regions promoting the circulation of sayings, taken as notorious and important for all, useful and deserving of being reported, besides being trusted with credibility. The discourse of the media, in its paraphrased versions, is responsible for the circulation of the meanings that become referent, imaginarily trustworthy in/of social reality, contributing to the social constitution of images, values and conceptions of the world. We understand that the way to discourse of that one we detained ourselves to observe is being constantly fed back from/by the ones already mentioned. Memories and meanings/significances/senses of the (discursive) world of spectacle, of the Image-driven Society, that appear as data to its producers. Naturalized and caught up appearing as an ―innate‖ grammar of shadow and light, colors and volumes.