Orientador: Marilda do Couto Cavalcanti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T11:34:57Z (GMT). No. of bitstreams: 1 CostadePaula_Rogeria_D.pdf: 4056214 bytes, checksum: 7ac3c200f2f95e10e16ef7998f5468b4 (MD5) Previous issue date: 2010 / Resumo: O objetivo desta tese é bipartido: (a) investigar as performances de raça e racializações de cinco adolescentes negras, na faixa etária entre 13 e 18 anos, constituintes de uma comunidade de prática (WENGER, 1999), em grupos focais mediados por textos veiculados na seção de beleza em revistas femininas e (b) interpretar os posicionamentos sociointeracionais ocupados nessas performances. A questão norteadora do estudo é como as adolescentes participantes da pesquisa constroem seus corpos/cabelos em eventos de letramentos mediados por textos multimodais em revistas femininas. A pesquisa de natureza qualitativa tem um viés etnográfico, visto que se trata de "um processo deliberado de investigação, guiado por um ponto de vista" (ERICKSON, 1984, p. 51). O estudo foi desenvolvido por meio de trabalho de campo em uma cidade do interior do Estado do Rio de Janeiro, no período de abril de 2006 a dezembro de 2007. Os conceitos-chave do arcabouço teórico da tese são performances/performatividades (BUTLER, 1999/1990) e posicionamento (WORTHAM, 2001; VAN LANGENHOVE, HARRÈ, 1999; WORTHEN, 1995). O conceito de performance, segundo Butler (1999/1990), focaliza gêneros/sexualidades e foi aqui ampliado para incluir raça/racializações. Essa ampliação demandou a necessidade de problematização do conceito de raça. Em relação a posicionamento, o caminho seguido foi uma associação entre as propostas dos três autores mencionados. Assim, utilizo as pistas interacionais apontadas por Wortham (2001) para interpretar quando um posicionamento é assumido/tomado e considero também os tipos de posicionamento categorizados por Van Langenhove e Harrè (1999) e as noções de performances/performatividades (BUTLER, 1999/1990; WORTHEN, 1995) para interpretar as performances das participantes, indicando as tomadas de agência e as performatividades construídas pelas adolescentes. A análise de dados mostra as adolescentes construindo seus corpos/cabelos como parte de um projeto político de identificação social coerente com as demandas da vida social que valorizam. Além disso, os dados mostram que as performances de raça são constantemente amalgamadas por performances de gêneros/sexualidades. Nas performances, as adolescentes assumem diferentes posicionamentos por meio dos quais se inserem em categorias sociais como uma dada raça e um determinado gênero/sexualidade. Finalmente, a análise mostra as adolescentes encenando constantes processos de tornar-se, nos quais elas são agentes de suas identificações. Com base no estudo realizado, discuto implicações para o letramento escolar / Abstract: The aim of this PhD dissertation is binary: (a) to investigate the performances of race and racialization of five black teenagers, aged between 13 and 18, belonging to a community of practice (Wenger, 1999), in focus groups, mediated by texts from the beauty section of woman magazines, and (b) to investigate the sociointeractionist positions occupied by the girls in these performances. The research question which guides the study is how the black teenagers build their bodies/hair in literacy events mediated by multimodal texts in woman magazines. The research is qualitative and it has an ethnographic orientation, since it is "a deliberate process of research, led by a point of view" (ERICKSON, 1984, p. 51). The study was developed through fieldwork in a town in the state of Rio de Janeiro, from April 2006 to December 2007. The key theoretical concepts in the data analysis are performances/performativities (BUTLER, 1990) and positioning (WORTHAM, 2001; LANGENHOVE, HARRÈ, 1999; WORTHEN, 1995). The concept of performance, according to Butler (1999/1990), focuses on gender/sexuality and in this thesis it was expanded to include race/racialization. To accomplish this expansion, it was necessary to question the concept of "race." Regarding the concept of positioning, the path followed was to combine the proposals made by Wortham (2001), Langenhove e Harrè (1999) and Worthen (1995). Thus, I use the interactional clues indicated by Wortham (2001) to interpret when a positioning is assumed/taken and I take into consideration the categorization regarding kinds of positioning by Van Langenhove and Harrè (1999), and the concept of performance/performativity put forward by Butler (1999/1990) and Worthen (1995) to interpret the participant?s performances and performativities. The data analysis show that the teenagers build their bodies/hair as part of a political project of social identification consistent with what they value in social life. Furthermore, the data show that performances of race are constantly intermingled with performances of gender/sexuality. In their performances, the teenagers take different positions through which they insert themselves into social categories such as a given race and a certain gender/sexuality. Finally, the analysis indicates that the multimodality of contemporary media texts offer a range of identifications that allow the readers to reposition themselves socially through transgressive performativities, i.e, staging constant processes of becoming, in which the teenagers are agents of their own identifications. As a follow-up to the data analysis, I draw implications to school literacy / Doutorado / Multiculturalismo, Plurilinguismo e Educação Bilingue / Doutor em Linguística Aplicada

Depuis sa naissance au cœur des célébrations païennes ou religieuses du Moyen Âge anglais, le théâtre britannique a toujours entretenu des liens privilégiés avec la fête. Cette affinité élective entre le dramatique et le festif fait ici l’objet d’une réflexion esthétique reposant sur un corpus de pièces contemporaines où sont représentées toutes sortes de célébrations. En effet, qu’il s’agisse d’anniversaires, de Noëls, ou de retrouvailles entre amis, le topos festif perdure sur les scènes britanniques de la seconde moitié du XXe siècle (The Birthday Party fut joué à Londres en 1958) jusqu’au début du XXIe siècle, avec des pièces comme Jerusalem de Jez Butterworth (2009) ou In the Republic of Happiness de Martin Crimp (2012). Or, après l’expérience traumatique de la Seconde Guerre mondiale et les crises protéiformes qui ont affecté le monde au cours des dernières décennies, la rémanence de la fête sur scène a de quoi étonner. Il convient cependant d’observer que lorsque le phénomène festif se change en objet de représentation, il donne l’occasion aux dramaturges de déployer une poétique carnavalesque où l’excès cohabite avec le manque, la légèreté avec la gravité, pour finalement mettre le monde et les formes traditionnelles sens dessus dessous. Éminemment transgressive et volontiers caractérisée par la pénurie, le manque, voire la violence ou la mort, la fête paradoxale devient le lieu privilégié d’une exploration éthique et esthétique des limites du figurable. Elle offre dès lors un paradigme fécond pour rendre compte du renouvellement des formes dramatiques contemporaines. / British theatre and festivities have always been closely linked. From the moment the first plays were performed during medieval festivals to present-day representations of parties in which people binge drink or use drugs, it might even be argued that the celebratory mood has never left the stage. This intimate connection between the dramatic and the festive is investigated here from an aesthetic point of view, through a corpus of contemporary plays representing celebrations. Be they birthdays, anniversaries, Christmases or reunions, the festive motif is a recurring one in the second half of the twentieth century, with plays like The Birthday Party (1958), and on into the twenty-first century, with Jez Butterworth’s Jerusalem (2009) or Martin Crimp’s In the Republic of Happiness (2012). Considering the traumatic experience of the Second World War or the protean crises that have subsequently affected the world, we might expect parties to disappear from the stage altogether; yet, this is not the case. In fact, we find that when the festive phenomenon is turned into an object of representation, it allows dramatists to put forward a poetics of excess characterised by exuberance and transgression. Not only does this carnivalesque energy turn the world upside down, it also subverts traditional dramatic forms. Oscillating between lack and excess or lightheartedness and gravity, sometimes verging on scarcity, violence or even death, the paradoxical party becomes the epitome of an aesthetic and ethical exploration of the limits of the representable. It thus offers a fruitful paradigm to account for the renewal of dramatic forms on the contemporary stage.