Sinalitura: proposta teórica e análise crítica da literatura surda

• Ano de defesa: 2022
• Autor(a) principal: Rocha, Helen Cristine Alves
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Estudos Literários
• Palavras-chave em Português: Sinalitura; Signliture; Surdo; Deaf; Literatura; Literature; Literatura Surda; Deaf Literature; CNPQ::LINGUISTICA, LETRAS E ARTES; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA COMPARADA; Surdos - Educação; Libras (Língua brasileira de sinais)
• Link de acesso: https://repositorio.ufu.br/handle/123456789/34679; http://doi.org/10.14393/ufu.te.2022.189

Nowadays, there’s an evident lack of studies in the field of literature created for or written to the Deaf. Address such shortage of studies is one goal of this thesis. Therefore, the research I produce has as its main objectives to render the term and the concept of “Deaf Literature” problematic, and to create a new notion, naming “Signliture” the creations of the Deaf, for the Deaf, or visually accessible to them. Differently of what the main theoreticians of Deaf Literature say, that which defines literature is the aesthetical discourse not the utilitarian one, to such a degree that all works selected for the analysis in this thesis are short stories in which the fantastic universe appears. Furthermore, I analyze the works Cinderela Surda (2011), Rapunzel Surda (2005), A cigarra surda e as formigas (2004), Adão e Eva (2011a), Patinho Surdo (2011b), A Fábula da Arca de Noé (2014) and A Princesinha Surda (2021), considering intertextuality, adaptation and visuality (illustrations), investigating if they are intelligible to the Deaf, and if they belong to Deaf Literature and/or to Signliture. Moreover, I verify what these works present as elements of a so-called deaf culture and of an alleged “hearing culture”, then identifying their publics. For examples of what I call Signliture, I analyze two works: Tibi e Joca (2001) and Casal Feliz (2010). For texts that are not considered Deaf Literature, my examples are A Família Sol, Lá, Si (2008a) and O canto de Bento (2008b), arguing that, in fact, Deaf Literature and Signliture. To accomplish such objectives, I discuss the theoretical works of Lodenir Karnopp (2006, 2008, 2010), Cláudio Mourão (2011, 2016), Jaqueline Boldo (2015) and Fabiano Rosa (2011) concerning Deaf Literature. Concerning literature in general, the short story and aesthetics, I’ve chosen Roland Barthes (2007), Antonio Candido (2011), Edmir Perrotti (1986), Marta Morgado (2011), Nelly Coelho (2000) and André Jolles (1976). Concerning the idea of performance, I visit the work of Paul Zunthor (2007). Concerning illustrations and visuality, I’ve elected texts by Luís Camargo (1995), Sophie Linden (2011) and Maria Nikolajeva e Carole Scott (2011). Concerning adaptation and intertextuality, I adopt works by Linda Hutcheon (2011) and Julia Kristeva (2012). Concerning the specificity of the fantastic literature, I’ve selected the studies of José Paulo Paes (1985), Tzvetan Todorov (2004), Filipe Furtado (1980, 2015), David Roas (2001) and Lenira Covvizi (1978). Concerning culture an identity, I refer to works by Stuart Hall (2006), Márcia Goldfeld (2002) and Luiz Carvalho (2019). I point out that Deaf Literature cannot always be read by the Deaf without the aid of a translator or an interpreter of sign language. For that reason, I understand as Signliture a type of artwork that presents aesthetics and that is visually comprehensible for the Deaf to enjoy without aid.