Submitted by Eunice Novais (enovais@uepg.br) on 2018-06-06T17:35:12Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Suzimara Souza.pdf: 7480959 bytes, checksum: 832869be1afb4bd96530cf379104850d (MD5) / Made available in DSpace on 2018-06-06T17:35:12Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Suzimara Souza.pdf: 7480959 bytes, checksum: 832869be1afb4bd96530cf379104850d (MD5) Previous issue date: 2018-04-04 / This dissertation is part of the Postgraduate Program in Language Studies of the Ponta Grossa State University (UEPG) and aims to understand how the memory of the subjects belonging to CRQSerra do Apon, a region located in the interior of Castro-PR, is represented by the oral and visual narratives produced by the subjects' gaze. To reflect on the relation time and memory, we use authors Maurice Halbwachs (2013) and Pierre Nora (1993). From the idea that all narrative, in the most different forms of language produce a history, we find support in Paul Ricoeur's (1990) thought for which all history is narrative. In order to weave the narratives of individual memories that are confused with the collective memories and the own history of the black community we use Kabengele Munanga (1994) articulated to the thought wise and poetic of Hampaté Bâ (2003, 2010), author who discusses the relevance of the word for the inheritances of the African matrix. We also consider authors such as Clóvis Moura (1981) and Abdias de Nascimento (1980, 2003) to deal with issues of black territory, formation and formation of quilombo. Like Lélia Gonzalez (1982) and Eduardo de Oliveira (1977) among other fundamental authors in the reflection on the social, political, economic, cultural and intellectual organization of the Negro in Brazil. We conceptualize the communicative event of the narrative as a structured fabric that communicates, preserves and impresses meaning to a determined society, considering a specific historical and temporal context from Marcuschi's (2008) thought. We verified how this idea is effective in the narratives presented by the subjects surveyed in the Quilombo Serra do Apon Community. Within these narratives are present the oral aspects in the communicative stories and histories of life and the visual aspects, the photographs produced by the subjects participating in the research, treated as records of memories that flee from the words, shaping images that, in turn, demanded an adequacy within the research. The methodology, in which this work is constructed, allows us to interpret images, but we also support the critical interpretation that considers social roles and functions beyond the relations of power, by which these roles and functions can be linked, disregarding the sense of taste, of appreciation and pleasure. For this, visual culture was used in the perspective of Fernando Hernandez (2000). Our methodological course followed some participatory ethnographic techniques, not considering the ethnography in its totality and we use the Communicative - Critical Methodology (MCC) based on the thoughts of Jürgen Habermans (1987) on Communicative Action and on the concept of Dialogicity proposed by Paulo Freire (1994) , 2005), who assumed the role of method ora methodology in the structuring of all research. To understand all the aspects present in the work, we use authors such as Carmem Lúcia Guimarães de Mattos (2011), Clifford Geertz (1989), Fabiana Marine (2010), José Goméz (2006), Rafael Bisquerra (2004), Roseli Rodrigues de Mello 2010), Silionara Aparecida Madureira (2015), Vanessa Gabassa (2010) and others. The application of the techniques and methodology was favorable not only to reading and analyzing the content of the narratives - oral and visual - but also represented an understanding of the social, political, economic and cultural formation process of this community. We do not propose a rescue of the history and memory of these subjects, but rather the record of the possibilities of seeing, imagining, interpreting and re-signification the ways of narrating life presented by these subjects. / Esta disertación de maestría forma parte del Programa de Postgrado en Estudios del Lenguaje, de la Universidad Estatal de Ponta Grossa (UEPG) y intenta comprender como la memoria de los sujetos que pertenecen a la CRQ- Serra do Apon, región ubicada en el interior de Castro- PR, es representada a partir de las narrativas orales y visuales producidas por los puntos de vita de esos sujetos. Para refletar sobre la relación tiempo y memoria, utilizamos los autores Maurice Halbwachs (2013) y Pierre Nora (1993). A partir de la idea de que toda narrativa, en sus respectivas formas de lenguaje producen una historia, encontramos suporte en el pensamiento de Paul Rocouer (1990), lo cual toda la historia es narrativa. Para tejer las narrativas de memorias individuales que se les confunden con las memorias colectivas y la propia historia de la comunidad negra, utilizamos Kabengele Munanga (1994) desarrollándose al pensamiento sabio y poético de Hampaté Bâ (2003, 2010), autor que discute acerca de la importancia de la palabra para las herencias de la matriz africana. Consideremos también autores como Clóvis Moura (1981) y Abdias de Nascimento (1980, 2003) para discutir sobre las cuestiones de territorio negro, formación y constitución de quilombo. Así como Lélia Gonzalez (1982) y Eduardo de Oliveira (1977) entre otros autores fundamentales en la reflexión acerca de la organización social, política, económica, cultural e intelectual del negro en Brasil. Conceptuamos el evento comunicativo de la narrativa como un tejido estructurado que comunica, preserva e imprime sentido a una determinada sociedad, considerando a un contexto historio y temporal específico a partir del pensamiento de Marcuschi (2008). Constatamos como esa idea efectivase en las narrativas presentadas por los sujetos pesquisados en la Comunidad Remaneciente de Quilombo Serra do Apon. Dentro de esas narrativas están presentes los aspectos orales en los relatos y historias comunicativas de la vida y los aspectos visuales, las fotografías producidas por los sujetos que participaron de esa pesquisa, que son tratadas como registros de la memoria que huyen las palabras, destacando imágenes, que por su vez, exigieron una adecuación interpretativa en la pesquisa. La metodología, en la cual este proyecto se constituye, permite interpretar imágenes, sin embargo nos respaldamos también en la interpretación crítica que considera los papeles y la funciones sociales además de las relaciones de poder, por las cuales esos papeles y funciones puedan vincularse, desconsiderando el seso de gustar, de la apreciación y del placer. Para eso, fueron utilizado la cultura visual e la perspectiva de Fernando Hernandez (2000). Nuestro camino metodológico siguió algunas técnicas etnográficas participativas, no considerando la etnografía en su totalidad y utilizamos la Metodología Comunicativo Crítico (MCC) que se respalda en los pensamientos de Jürgen Habermans (1987) acerca de la Acción Comunicativa y en el concepto de Dialogicidade propuesto por Paulo Freire (1994, 2005) que asumió la función de ora método ora metodología en la estructuración de la pesquisa. Para comprender todos los aspectos manifiestos en el trabajo, utilizamos autores como Carmem Lúcia Guimarães de Mattos (2011), Clifford Geertz (1989), Fabiana Marine (2010), José Goméz (2006), Rafael Bisquerra (2004), Roseli Rodrigues de Mello (2010), Silionara Aparecida Madureira (2015), Vanessa Gabassa (2010) y entre otros. La aplicación de las técnicas y de la metodología fue favorable no sólo a la lectura y análisis del contenido de las narrativas- orales y visuales- sin embargo representan también la compresión del proceso de la formación social, política, económica y cultural de esa comunidad. No proponemos un rescate de la historia y de la memoria de esos sujetos, pero sí el registro de las posibilidades de ver, imaginar, interpretar y resignificar las formas de narrar la vida presentadas por esos sujetos. / This dissertation is part of the Postgraduate Program in Language Studies of the Ponta Grossa State University (UEPG) and aims to understand how the memory of the subjects belonging to CRQSerra do Apon, a region located in the interior of Castro-PR, is represented by the oral and visual narratives produced by the subjects' gaze. To reflect on the relation time and memory, we use authors Maurice Halbwachs (2013) and Pierre Nora (1993). From the idea that all narrative, in the most different forms of language produce a history, we find support in Paul Ricoeur's (1990) thought for which all history is narrative. In order to weave the narratives of individual memories that are confused with the collective memories and the own history of the black community we use Kabengele Munanga (1994) articulated to the thought wise and poetic of Hampaté Bâ (2003, 2010), author who discusses the relevance of the word for the inheritances of the African matrix. We also consider authors such as Clóvis Moura (1981) and Abdias de Nascimento (1980, 2003) to deal with issues of black territory, formation and formation of quilombo. Like Lélia Gonzalez (1982) and Eduardo de Oliveira (1977) among other fundamental authors in the reflection on the social, political, economic, cultural and intellectual organization of the Negro in Brazil. We conceptualize the communicative event of the narrative as a structured fabric that communicates, preserves and impresses meaning to a determined society, considering a specific historical and temporal context from Marcuschi's (2008) thought. We verified how this idea is effective in the narratives presented by the subjects surveyed in the Quilombo Serra do Apon Community. Within these narratives are present the oral aspects in the communicative stories and histories of life and the visual aspects, the photographs produced by the subjects participating in the research, treated as records of memories that flee from the words, shaping images that, in turn, demanded an adequacy within the research. The methodology, in which this work is constructed, allows us to interpret images, but we also support the critical interpretation that considers social roles and functions beyond the relations of power, by which these roles and functions can be linked, disregarding the sense of taste, of appreciation and pleasure. For this, visual culture was used in the perspective of Fernando Hernandez (2000). Our methodological course followed some participatory ethnographic techniques, not considering the ethnography in its totality and we use the Communicative - Critical Methodology (MCC) based on the thoughts of Jürgen Habermans (1987) on Communicative Action and on the concept of Dialogicity proposed by Paulo Freire (1994) , 2005), who assumed the role of method ora methodology in the structuring of all research. To understand all the aspects present in the work, we use authors such as Carmem Lúcia Guimarães de Mattos (2011), Clifford Geertz (1989), Fabiana Marine (2010), José Goméz (2006), Rafael Bisquerra (2004), Roseli Rodrigues de Mello 2010), Silionara Aparecida Madureira (2015), Vanessa Gabassa (2010) and others. The application of the techniques and methodology was favorable not only to reading and analyzing the content of the narratives - oral and visual - but also represented an understanding of the social, political, economic and cultural formation process of this community. We do not propose a rescue of the history and memory of these subjects, but rather the record of the possibilities of seeing, imagining, interpreting and re-signification the ways of narrating life presented by these subjects.