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Bruno Guimarães Martinshttp://lattes.cnpq.br/5373587413061913Ana Elisa Ferreira RibeiroElton Antuneshttp://lattes.cnpq.br/2467526657425751Helvio de Araújo Caldeira Júnior2023-10-31T14:13:05Z2023-10-31T14:13:05Z2023-08-24http://hdl.handle.net/1843/60327https://orcid.org/0000-0002-4207-5591A pesquisa em questão busca refletir, com base no fenômeno literário que vem sendo chamado de instapoesia, de que formas se dão os processos de escrita e compartilhamento de poesia a partir das affordances do Instagram, bem como a apresentação de si e interação com os leitores por parte dos poetas dentro da rede social. Para isso, inicialmente, o trabalho proposto se vale de aportes teóricos de variadas naturezas, sobretudo discussões voltadas às expansões literárias, a literatura enquanto forma de comunicação e os Estudos de Plataforma, de modo a tentar apreender essas diversas facetas que constituem as dinâmicas (insta)poéticas. Soma-se a esse esforço, em seguida, uma investigação netnográfica (Montardo; Jung Rocha, 2005) do perfil dos escritores Rupi Kaur (@rupikaur_ no Instagram), Igor Pires/”Textos Cruéis Demais” (@textoscrueisdemais), Amanda Lovelace (@ladybookmad) e Atticus (@atticuspoetry), que, sendo relevantes expoentes desse tipo de poesia viral, têm suas obras e contato com o público durante o primeiro trimestre de 2022 registrados e examinados segundo quatro eixos analíticos: 1) panorama geral de publicação, com apontamentos amplos sobre a periodicidade e tipos de postagens encontradas nas quatro contas; 2) os instapoemas, em que são descritas as maneiras como cada qual os produz e divulga; 3) presença digital e interação com leitores, que olha para as formas com que os artistas se apresentam e se relacionam com os seguidores; 4) monetização do trabalho, seção interessada na exploração comercial da instapoesia. A análise do corpus nos permite perceber, entre outros aspectos, como estamos falando de produções literárias que ora tensionam, ora se adequam ao modus operandi da plataforma (seja no ritmo de postagem, autoexposição do escritor ou contato direto e diário com o público), além de conviverem com uma série de outros posts comuns à lógica das mídias sociais. Nesse sentido, focalizar as atividades que ocorrem nos perfis escolhidos se mostra fundamental para, mais do que se ater às dinâmicas particulares dos autores com seus leitores, discutir as constantes reconfigurações do fazer poético e suas especificidades no meio digital.The research in question seeks to reflect, based on the literary phenomenon known as instapoetry, on the ways in which the processes of writing and sharing poetry occur through Instagram’s affordances, as well as the self-presentation and interaction with readers by poets within the social network. To do so, initially, the proposed work relies on various kinds of theoretical contributions, especially discussions focused on literary expansions, literature as a form of communication, and Platform Studies, in order to grasp the diverse facets that constitute the dynamics of instapoetry. In addition to this effort, a netnographic investigation (Montardo; Jung Rocha, 2005) of the accounts of Rupi Kaur (@rupikaur_ on Instagram), Igor Pires/"Textos Cruéis Demais" (@textoscrueisdemais), Amanda Lovelace (@ladybookmad), and Atticus (@atticuspoetry) is carried out, once they are relevant exponents of this viral type of poetry. Their works and contact with the public during the first quarter of 2022 are reunited and examined according to four analytical sections: 1) posting overview, with general notes on the frequency and types of posts found in the four accounts; 2) the instapoems, with descriptions about the ways in which each one of the artists produces and promotes the poems; 3) digital presence and interaction with readers, looking at how the artists present themselves and engage with their followers; 4) monetization of work, a section interested in the commercial exploration of instapoetry. The analysis of the corpus allows us to perceive, among other aspects, that we are talking about literary productions that sometimes collide with, sometimes adapt to the modus operandi of the platform (whether in the pace of posting, the writer's self-exposure or the direct and daily contact with the public), in addition to coexisting with a series of other posts common to the social media logic. In this sense, focusing on the activities that take place in the chosen profiles proves to be fundamental for, more than sticking to the particular dynamics of the authors with their readers, discussing the constant reconfigurations of poetic making and its specificities in the digital space.porUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Comunicação SocialUFMGBrasilFAF - DEPARTAMENTO DE COMUNICAÇÃO SOCIALComunicação - TesesLiteratura - TesesPoesia - TesesInstagram (Rede social on-line) - TesesInstapoesiaLiteraturaCiberespaçoAffordancesPlataformas digitaisNo meio do feed tinha um poema : considerações sobre a escrita de instapoesia e suas dinâmicas interativasinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGLICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/60327/2/license.txtcda590c95a0b51b4d15f60c9642ca272MD52ORIGINALNo meio do feed tinha um poema - Helvio Caldeira.pdfNo meio do feed tinha um poema - Helvio Caldeira.pdfapplication/pdf7862533https://repositorio.ufmg.br/bitstream/1843/60327/1/No%20meio%20do%20feed%20tinha%20um%20poema%20-%20Helvio%20Caldeira.pdf4daaa88b46ede2e124279034187df05fMD511843/603272023-10-31 11:13:06.223oai:repositorio.ufmg.br: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ório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2023-10-31T14:13:06Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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