Esta pesquisa tem o intuito de abordar um movimento literário e cultural que se expressa pela performance de poesias autorais, chamado de batalha de poesia ou slam de poesia com influência no Poetry Slam e Spoken Words, e que recentemente cresce no Brasil, particularmente na cidade de São Paulo. O objetivo desta pesquisa visa apreender como este movimento relativamente novo no Brasil, se insere no conceito de Literatura Marginal e da ideia de Cultura de Periferia, tanto pelas questões internas ao discursos, das poesias faladas e publicadas, como por questões externas ligadas a ações sociais e conjuntas. Foi utilizada a metodologia de etnografia em campo com visitas ao Slam da Guilhermina, ZAP!Slam e Slam das Minas SP; levantamento das publicações de livros lançados nos slams e mapeamento cartográfico a partir dos locais de realização dos mesmos na cidade e região metropolitana de São Paulo. Como resultado de pesquisa foi possível definir os temas mais recorrentes entre os poemas que concorreram às batalhas e o ano e região de maior concentração dos slams em São Paulo. Podemos concluir com esta pesquisa que todos os livros são do gênero de poemas e foram publicados de forma independente ou a partir de editoras que se definem como independentes; que a maioria dos coletivos de slam nasceram entre 2016 e 2017 com maior concentração na Zona Leste de São Paulo / This research aims to address a literary and cultural movement that is expressed by the performance of poetry authored, called the \"battle of poetry\" or poetry slam with influence in Poetry Slam and Spoken Words, and which has recently grown in Brazil, particularly in Brazil. Sao Paulo City. The objective of this research is to understand how this relatively new movement in Brazil is inserted in the concept of Marginal Literature and the idea of Culture of Periphery, as much for the internal questions to the speeches, of the spoken and published poetry, as for external questions related to social actions and joint. The ethnography methodology was used in the field with visits to Guilhermina Slam, ZAP! Slam and Slam from SP mines; survey of the publications of books published in slam\'s and cartographic mapping from the places of accomplishment of the same ones in the city and metropolitan region of São Paulo. As a result of research it was possible to define the most recurrent themes among the poems that competed for the battles and the year and region of greater concentration of slam\'s in São Paulo. We can conclude from this research that all books are of the genre of poems and have been published independently or from publishers who define themselves as independent; that most of the slam collectives were born between 2016 and 2017 with greater concentration in the East Zone of São Paulo

This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.

Today, the definition of literature has changed. Walter J. Ong talks about the secondary spoken language that has surfaced as a result of new technical innovations to our writing tools. This also transforms our attitude towards literature and we can see a return to literature based on verbal characteristics. According to Hans Hertel the verbal renaissance reflects a modern man need to come closer to each other and create togetherness. This master thesis adheres to these views and states that Poetry Slam is a manifestation of these theories. It also argues that Poetry Slam can not only be viewed upon as a literary movement. Besides providing literary teaching practices for large quantities of individuals, performing Poetry Slam also facilitates personal development. The master thesis is an interview based study, which aims to ascertain the importance of Poetry Slam as literature and its effect on the identity defining processes of those participating in Poetry Slam contests. The foundation for the essay’s line of questioning is based on the literary theories of Pierre Bourdieu. It also incorporates the theories of identity creation in a modern day society by Thomas Ziehe. The subjects interviewed have a thorough understanding on how to assess verbal art forms. It is also a common understanding that poetry is a wider art form than literature. Despite this, there is a positive interpretation and evaluation of the literature in question. Several of the subjects supplying the underpinning information firmly believes that participation in Poetry Slam sessions will further their carriers as poets. This consequently leads to a conflict between their goals and the aim and purpose of Poetry Slam. / Uppsatsnivå: D

Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participé. / This research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged.

Traditionellt sett har poesin varit talad, inte skriven, något som framförts på scen framför en publik. Den politiska användningen av estradpoesi är inget nytt påfund. Brukspoesi och tillfällespoesi i flera olika former har använts för att övertyga eller övertala publiken om olika samhällspolitiska frågor. Det retoriska talet har fått mycket uppmärksamhet för sin starka relation till politik, men hur fungerar det när talet är poesi? Denna uppsats vill fördjupa förståelsen av poesi som framförs på scen och hur den fungerar som en politisk handling. Detta görs genom att undersöka en specifik poesigenre: Poetry slam. Poetry slam är en tävling i estradpoesi som under de senaste trettio åren växt fram världen över, och många utnyttjar sin tid framför micken till att ta upp politiska åsikter eller personliga berättelser med en politisk agenda. Uppsatsen undersöker hur åtta olika poeter som tävlade i SM i Poetry slam 2019 använder sig av Poetry slam som en politisk plattform. Den undersöker på vilket sätt dikterna tar upp aktuella samhällspolitiska frågor, hur dessa frågor gestaltas samt hur olika strategiska manövreringar väcker identifikation hos publiken. Då dikterna måste vara skrivna av poeterna själva, men inte måste vara baserade på egna erfarenheter, blir det tydligt att poeterna genom dikterna konstruerar en identitet. Uppsatsen undersöker därför även hur detta används som ett medel för att övertyga eller övertala.

Submitted by LIDIANE VIANA null (lidiane_viana@hotmail.com) on 2018-04-05T19:22:21Z No. of bitstreams: 1 dissertação definitiva lidiane.pdf: 10064862 bytes, checksum: 8a7aae85af3e562746d7883b4660f29a (MD5) / Approved for entry into archive by Maria Luiza Carpi Semeghini (luiza@assis.unesp.br) on 2018-04-06T00:28:30Z (GMT) No. of bitstreams: 1 viana_l_me_assis.pdf: 10064862 bytes, checksum: 8a7aae85af3e562746d7883b4660f29a (MD5) / Made available in DSpace on 2018-04-06T00:28:30Z (GMT). No. of bitstreams: 1 viana_l_me_assis.pdf: 10064862 bytes, checksum: 8a7aae85af3e562746d7883b4660f29a (MD5) Previous issue date: 2018-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação pensa a respeito do embate de vozes que existe no interior da escola, entre os discursos que representam a tradição escolar ou a força ideológica dominante e os discursos de resistência, entendidos como as vozes dos estudantes dentro deste processo dialético e dialógico, a partir do estudo de caso, em uma turma de 6º. ano, em uma escola estadual, da cidade de Tarumã/SP. Deste embate, o que se observa é um processo de apagamento da voz do aluno, um silenciamento gerado pela predominância da voz sistêmica e dominante, reproduzida pelo professor em sala de aula. Frente a este contexto, encontramos no poetry slam um espaço em que o aluno pode proferir os seus discursos, de acordo com suas idiossincrasias, reconhecendo que a escola também é o lugar da livre reflexão, da pluralidade de pensamento e da arte. Desse modo, neste trabalho buscamos (i) observar como se dá o embate de vozes dentro da escola e analisar como os jovens estudantes colocam-se frente a uma situação escolar em que são convidados a expressarem sua voz; (ii) estimular a escrita de enunciados autorais, de cunho poético-literário, reconhecendo o estudante também como sujeito autor; (iii) proporcionar ao aluno um contexto real de produção, circulação e apreciação estética de enunciados. A partir das atividades desenvolvidas por meio do poetry slam ou batalha de poesia, também analisamos de que maneira os discursos dos alunos foram arquitetados em suas poesias, com relação ao conteúdo temático, forma composicional e estilo. Fundamentamos nossa análise nos estudos do círculo de Bakhtin, sob a perspectiva dialético-dialógica de análise do discurso, portanto. Discutem-se as concepções de gêneros discursivos, voz social, ideologia, responsividade e estética, principalmente para pensar a respeito do ensino público de língua portuguesa e como este pode reforçar o silenciamento dos alunos ou, por outro lado, tornar-se um espaço de possibilidade discursiva. Reflete-se ainda sobre a concepção de poesia, sua função social, a sua presença no cotidiano escolar, bem como a sua relação com os cânones literários. Nossa metodologia, também calcada nos estudos bakhtinianos, contempla os conceitos de alteridade, silêncio e voz, cronotopo e exotopia. Os resultados obtidos mostram que, apesar da resistência oferecida pelo sistema de ensino, é possível construir espaços que privilegiam a voz dos estudantes no ambiente escolar / The concerning of this dissertation is think about the clash of voices that exists inside the school, between the discourses that represent the school tradition or within the dominant ideological strength. That voices can be seen as resistance discourses, understood as voice of students within this dialectical and dialogical process, from of a case study, in a class of 6° year, in a State School, at the city of Tarumã / SP. From this clash of voices, what is observed is a process of erasing the student's voice, a silencing generated by the predominance of the systemic and dominant voice, reproduced by the teacher in the classroom. Against this background, we find in poetry slam a space in which the student can utter his speeches, according to his idiosyncrasies, recognizing that the school is also the place of free reflection, plurality of thought and art. Thus, in this work we seek to (i) observe how the clash of voices within the school occurs and analyze how young students put themselves in front of a school situation in which they are invited to express their voice; (ii) stimulate the writing and production of authorial poetic-literary utterances, recognizing the student also as subject author; (iii) provide the student a real context of production, circulation and aesthetic appreciation of this kind of utterance. From the activities developed through the poetry slam or battle of poetry, we also analyze how the students' discourses were architected in their poetry, in relation to the thematic content, compositional form and style. We base our analysis on Bakhtin's circle studies, from the dialectical-dialogical perspective of discourse analysis. Conceptions of discursive genres, social voice, ideology, responsiveness and aesthetics are discussed, mainly to think about public Portuguese-language teaching and how this teaching can reinforce students' silencing or, on the other hand, become a space for discursive possibility. This work also discusses on the conception of poetry, its social function, its presence in the daily school life, as well as its relationship with the literary canons. Our methodology, also based on the Bakhtinian studies, include the concepts of alterity, silence and voice, chronotope and exotopia. The results obtained show that, despite the resistance offered by the education system, it is possible to construct spaces that favor the voice of students in the school environment / 5649480

[pt] O desdobramento do encontro e diálogo entre representantes de duas periferias que tem o hip hop (rap) como referência discursiva: Aubervilliers, uma banlieue de Paris, e a zona sul - periferia de São Paulo. A poesia falada nos bares, em desafios do poetry slam, ou nos saraus paulistas, onde as vozes subalternas oriundas das periferias das cidades/ metrópoles se expressam sem a mediação de intelectuais ou agenciadores culturais. Intervenção no espaço urbano e utilização de dispositivos informacionais digitais - que funcionam como amplificadores de seus territórios, criando fraturas em paradigmas canônicos da produção cultural. Uma produção literária que questiona padrões e cria novos olhares sobre a cidade. Com base na teoria de Michel de Certeau sobre as estratégicas e táticas utilizadas nos jogos de poder, a dissertação reconhece nos discursos periféricos e nas performances poéticas, táticas utilizadas pela subalternidade para dar visibilidade e afirmar sua identidade. Sob a inspiração de Jacques Rancière, discute-se como o regime estético da arte acontece na periferia, originando um novo movimento de partilha do sensível: da periferia para a própria periferia, em que os saraus e os slams funcionam como espaços agenciadores ou catalizadores desta partilha. Os produtores culturais emergentes da periferia se transformam em produtores de suas próprias narrativas, muitas vezes autobiográficas, literárias ou midiáticas, propondo uma subversão das estruturas de controle das classes dominantes sobre o imaginário da cidade. / [fr] Le principe de la rencontre et du dialogue entre les representants de deux périphéries ayant comme référence, le hip hop (rap ) : Aubervilliers (Banlieue de Paris) et une périphérie de São Paulo (située dans la zone sud de la ville), est fort intéressant. La poésie dans les bistrots, récitée sous forme de défis du Poetry slam ou des saraus paulistas, et les voix sous-terraines venant des periphéries urbaines, s expriment sans médiation intellectuelle et sans agents culturels. L intervention dans l espace urbain et l utilisation de dispositifs digitaux fonctionnent comme des amplificateurs de territoires, transformant les fractures en création de paradigmes canoniques de production culturelle. Une production littéraire qui met en question les normes admises et qui créée de nouveaux regards sur la ville. Appuyée sur la théorie de Michel de Certeau relative aux stratégies et tactiques utilisées dans les jeux du pouvoir, cette dissertation reconnaît dans les discours de la périphérie et dans leurs performances poétiques, des procédés utilisées par cette population, jusqu alors sous-terraine, pour se rendre visible et affirmer son identité. Sous l inspiration de Jacques Rancière, est posée aussi la question du comment le régime esthétique de l art est mis à jour dans la periphérie, donnant origine à un nouveau mouvement de partage du sensible. Ceci s effectue de périphérie à périphérie, où les saraus et les slams fonctionnent en tant qu espaces d agencement et cataliseurs d échanges, et dans lesquels les producteurs culturels qui en émergent, se transforment en producteurs de leur propre narration, souvent autobiographiques, littéraires et médiatiques. C est le résultat d une forme de subversion et de défiance des structures existantes et du contrôle des classes dominantes sur l imaginaire de la ville.