Todo mundo odeia o Chris: performatividade e vulnerabilidade do corpo negro à linguagem midiática

• Autor(a) principal: Almeida, Ludmila Pereira de
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/7098
• topic: Performatividade; Corpos negros; Colonialidade do saber/poder; Metapragmática; Mídia; Performativity; Blacks bodies; Coloniality of knowledge/power; Metapragmatic; Media; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The main objective of this research is to discuss how to configure the language and communication practices performed in the sitcom Todo mundo odeia o Chris (2006). We'll make use of the contributions of the metapragmatic function and metadiscursive schemes (SIGNORINI, 2008) about how the process of social difference and, consequently, of body marker tiers are legitimized communicative practices. This process, articulated to the historical events of ritual acts of speech (AUSTIN, 1998; PEIRANO, 2002; DORNELLES, 2002), produces discourses which effect the intelligibility of the bodies with signs of differentiation, considering that this is a basic construction in the perpetuation of the coloniality of knowledge and power (QUIJANO, 2005) that shapes the way the world is read by an epistemology that regulates and hierarquizes differences. The text-speech Todo mundo odeia o Chris, being translated/dubbed (MARTINS & AMORIN, 2013) producing the trace of the compulsory black diaspora (SANSONE, 2003; GILROY, 2001), is reentextualized from the local-global repertoire (MIGNOLO, 2003) of the brazilian translator, like the language can be used to perpetuate, architect and ritualize normalizing discourses for the control, addressing and notification of bodies (BUTLER, 2003; 1997; PINTO, 2002; 2013a; 2013b). Such actions make the black body vulnerable to acts of naming and violence that historically subordinate them. For this reason, the media narratives (SILVERSTONE, 2002), by providing mediated experiences about the world by the writing of the scenario of signification, enable T.M.O.C to charge the spirituality of the humor (BERGSON, 2001; SALES JR., 2006) via poetic strategies in the exercise of the language (BAUMAN & BRIGGS, 2006) and act against the dominant ideology. The black body is a sign still segregated and undervalued in the context of coloniality/modernity/globalization/State in the Americas, what constitutes a transterritorial fight that specifies in diferent locations while playing the role of dominant forces. So, when T.M.O.C shows a narrative that not only inserts the black body into visibility but do it in a reflexive and critical form with the metapragmatic action, it contradicts the cordiality, the cultural communicability and the not-said that directs the brazilian situation with a neurosis born of itself (GONZALEZ, 1984).