Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-23T17:41:07Z No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) / Made available in DSpace on 2017-05-23T17:41:07Z (GMT). No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) Previous issue date: 2017-01-20 / Gender technologies are, according to Lauretis (1994), cultural and discursive constructions and they are not a priori in relation to the subject. Though, they cannot also be considered as fixed categories and given by culture. It is precisely within the discursive and cultural character of the gender technologies that such technologies are never considered ready, but always in construction within culture. Gender technologies have direct relation to the sexual representation of sexualities and to what Foucault (2012a) calls mechanism of sexuality, as its ramifications (the regulation of the bodies and the interpellation, for example), and make the subversion of the identity possible. For the keeping of such technologies, the reiteration within culture and discourse is constantly necessary, and for that the theory of gender performativity, as postulated by Butler (2015a) accounts for the complex process of ?maintaining the gender? of a certain individual. Such process consists of a series of cultural and discursive acts performed, up to a certain point, intentionally, by the subject as a product of gender technologies. These acts are regulated by what Althusser (1980) names ?ideological State apparatuses? and they seem to be in consensus with the current norm. To Rich (2010) this norm is called heteronormativity and is always compulsory, its work is to regulate bodies, identities and genders, however this regulation collects its price by the obliteration of certain existences. This paper proposes a queer reading of The first bad man, a novel by the north-american writer Miranda July, to discuss the way the character Cheryl Glickman?s gender is constructed and deconstructed along the narrative and if the novel contemplates only the binary expressions of gender (male and female), or if July sees other gender identities, although marginal, possible. / Tecnologias de g?nero s?o para Lauretis (1994) vistas como constru??es culturais e discursivas que n?o est?o a priori em rela??o ao sujeito; por?m, tampouco podem ser consideradas como categorias fixas e dadas pela cultura. O car?ter discursivo e cultural das tecnologias de g?nero ? que faz com que tais tecnologias nunca se encontrem prontas, mas em constante constru??o na cultura. As tecnologias de g?nero t?m rela??o direta com as representa??es das sexualidades e com o que Foucault (2012a) denomina dispositivo da sexualidade, assim como seus desdobramentos (a regula??o dos corpos e a interpela??o, por exemplo), e fazem a identidade pass?vel de subvers?o. Para que tais tecnologias sejam mantidas, ? necess?rio que sejam reiteradas a todo o momento na cultura e no discurso, para isso a teoria da performatividade de g?nero, como postulada por Butler (2015a), dar? conta de elucidar o complexo processo de ?manter o g?nero? de um determinado sujeito. Tal processo consiste em uma s?rie de atos culturais e discursivos realizados, at? certa medida intencionalmente, pelo sujeito enquanto um produto das tecnologias de g?nero. Estes atos s?o regulados pelo que Althusser (1980) denomina ?aparelhos ideol?gicos do Estado? e parecem estar em consenso com uma norma vigente. Para Rich (2010), essa norma s? ? poss?vel enquanto heteronormatividade, e esta ? sempre compuls?ria. Seu trabalho ? o de regular os corpos, as identidades e os g?neros. No entanto, essa regula??o cobra o pre?o do apagamento de certas exist?ncias. Este trabalho prop?e uma leitura queer de O primeiro homem mau, romance da autora estadunidense Miranda July, para discutir de que maneira o g?nero da personagem Cheryl Glickman, a protagonista do romance, ? constru?do e desconstru?do ao longo da narrativa e se o romance d? conta apenas das express?es de g?nero bin?rias (masculino e feminino), ou se July v? como poss?vel outras identidades de g?nero, embora marginais.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-11T19:30:43Z No. of bitstreams: 1 AdrianoCesarLimaDeCarvalho_TESE.pdf: 1211176 bytes, checksum: ab46dd21492a58470b077bf046dc53e0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-12T19:31:54Z (GMT) No. of bitstreams: 1 AdrianoCesarLimaDeCarvalho_TESE.pdf: 1211176 bytes, checksum: ab46dd21492a58470b077bf046dc53e0 (MD5) / Made available in DSpace on 2018-04-12T19:31:55Z (GMT). No. of bitstreams: 1 AdrianoCesarLimaDeCarvalho_TESE.pdf: 1211176 bytes, checksum: ab46dd21492a58470b077bf046dc53e0 (MD5) Previous issue date: 2017-12-11 / Nesta pesquisa, analisamos a produ??o LGBT de efeito humor?stico em canais de humor gay do YouTube, enquanto discursiviza??o das for?as centr?fugas e centr?petas homonormativas. O humor gay dos canais pesquisados usa a carnavaliza??o (for?a centr?fuga) como t?cnica de humor para gerar rupturas (resist?ncia e transgress?o) no discurso homonormativo, que se apresenta uma reprodu??o do discurso heteronormativo. Enquanto a teledramaturgia tem midiatizado o discurso homonormativo (casais de gays felizes, bem casados e bem sucedidos, constituindo fam?lia atrav?s da ado??o etc.) para gerar o efeito de aceita??o social por semelhan?a com o discurso heteronormativo (que por sua vez tem semelhan?as com o discurso patriarcalista, pr?-fam?lia tradicional, anti-relacionamento aberto, contra a sexualidade livre e n?o normatizada), os canais de humor gay t?m recorrido ao grotesco e ? carnavaliza??o para resistir e transgredir ao discurso homonormativo e tamb?m para deslocar das margens para o centro os sujeitos LGBTT que n?o se guiam homonormativamente. Nossa pesquisa tem evidenciado que esse tipo de produ??o humor?stica se vale, ?s vezes, de uma linguagem codificada (Pajub?, Bajub? ou Bich?s), evocando pr?ticas sociais e constru??es simb?licas do cotidiano, do subjetivo e do identit?rio gay, n?o raro tornando-se essa produ??o lingu?stico-imag?tico-humor?stica opaca e inacess?vel em seus efeitos de sentido humor?stico para outros grupos sociais, n?o gerando o riso pela aus?ncia neles de certos saberes e mem?rias (POSSENTI, 2010). O discurso do grotesco aqui tamb?m identificado constitui uma parte significativa do corpus analisado: 6 v?deos respectivamente extra?dos dos canais de humor gay Ch? dos 5, P?e na Roda, Las Bibas From Viscaya, Bicha Melhore, Canal das Bee e Laranjas Bahia. Para tratar deste discurso em particular, utilizamos as proposi??es sobre o grotesco de Mikhail Bakhtin (1999) e as categorias do grotesco criadas por Muniz Sodr? e Raquel Paiva (2002). O grotesco e a carnavaliza??o (for?a centr?fuga) funcionam como procedimentos e t?cnicas de humor, colocando-se nos v?deos contra as representa??es do discurso homonormativo. A an?lise das condi??es de possibilidade (FOUCAULT, 1996; 1971; 2000; 1990) desse humor nos foram de grande import?ncia e acuidade, bem como a discuss?o da performatividade de g?nero da fil?sofa norte-americana Judith Butler (1993; 1997; 1999) e seu respectivo vi?s no que concerne ?s rela??es de g?nero e de poder, levando-se em considera??o a fabrica??o das subjetividades e identidades, como tamb?m o exerc?cio da resist?ncia e da transgress?o. Para a realiza??o dessa investiga??o, apoiamo-nos sobre a base te?rico-conceitual e metodol?gica da An?lise do Discurso de filia??o francesa. / In this research, we analyzed the LGBT production of humorous effect in gay humor channels of YouTube, while discourse about the centrifugal and centripetal homonormative forces. The gay humor of the channels studied uses carnivalization (centrifugal force) as a humor technique to generate ruptures (resistance and transgression) in homonormative discourse, which presents a reproduction of heteronormative discourse. While c has mediated the homonormative discourse (couples of happy, well-married and successful gays, constituting family through adoption, etc.) to generate the effect of social acceptance by resemblance to heteronormative discourse (which in turn bears similarities to patriarchal discourse, traditional pro-family, open anti-relationship, against free and non-standardized sexuality), gay humor channels have resorted to grotesque and carnivalization to resist and transgress to homonormative discourse and also to shift from the margins to the center LGBT subjects who do not guide themselves homonormatively. Our research has evidenced that this type of humorous production is sometimes based on a coded language (Pajuba, Bajub? or Bich?s), evoking social practices and symbolic constructions of the daily, the subjective and the gay identity, often becoming this language-imagery-humorous production, opaque and inaccessible in its effects of humorous sense to other social groups, not generating laughter because of the absence of certain knowledge and memories in them (POSSENTI, 2010). The grotesque discourse here also identified constitutes a significant part of the corpus analyzed: 6 videos respectively extracted from the gay humor channels Tea of 5, P? na Roda, Bibas From Viscaya, Bicha Melhore, Bee Channel and Oranges Bahia. To deal with this particular discourse, we use the propositions on the grotesque of Mikhail Bakhtin (1999) and the grotesque categories created by Muniz Sodr? and Raquel Paiva (2002). Grotesque and carnivalization (centrifugal force) function as procedures and techniques of humor, putting themselves in the videos against the representations of homonormative discourse. The analysis of the conditions of possibility (FOUCAULT, 1996; 1971; 2000; 1990) was of great importance and acuity, as well as the discussion of the gender performativity of the American philosopher Judith Butler (1993; their respective bias in relation to gender and power relations, taking into account the fabrication of subjectivities and identities, as well as the exercise of resistance and transgression. For the accomplishment of this investigation, we support ourselves on the theoretical-conceptual and methodological basis of the Discourse Analysis of French affiliation.