Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional Manancial UFSM |
Texto Completo: | http://repositorio.ufsm.br/handle/1/25743 |
Resumo: | The research investigates how female representations, in Brazilian soap operas, tensioned by hegemony and selective tradition, make the agendas of the feminist movement visible, from the 1960s to 2010. To answer this question, we analyze the soap operas Véu de Noiva (1969), Pecado Capital (1975), Coração Alado (1980), Explode Coração (1995), América (2005) and A Força do Querer (2017). The general objective is to analyze the relations between Brazilian soap operas and the feminist movement, through the representation of female characters, in six soap operas from the 1960s to 2010. Thus, we have as specific objectives: to map the elements of the historical and social context in each moment of the feminist movement in Brazil; verify how the production logics of the soap operas contribute to the representation of the themes through the characters; identify the feminist themes reinforced in the soap operas and recognize the elements used in the construction of the female characters of the soap operas. In order to achieve these objectives, we use the theoretical-methodological assumptions of the cultural studies, approach from which we develop the concepts such as cultural material, mediation, hegemony and tradition, and we also elaborate the cultural-media analysis, based on the cultural theory proposed by Raymond Williams (1979). Besides, we present a history of the feminist movement and its developments, mainly in the Brazilian context, based on Céli Pinto (2003, 2018), Maria Amélia Teles (2003, 2017) and Ilze Zirbel (2007). We also highlight the importance of soap operas in the Brazilian context, characterizing them as cultural products with a potential for articulating representations and also as a catalyst for debates on feminist themes, through Charlotte Brunsdon (1997), Ana Carolina Escosteguy (2003, 2019), Heloisa Buarque de Almeida (2002, 2003) and Clara Meirelles (2009). As a result, the visibility of the agenda in the soap operas is demonstrated through five themes: motherhood, violence against women, empowerment, labor market and sexual diversity, in addition to their consequences. In general, there is a representation through a white, little politicized, individualized and meritocratic feminism, which acts within conservative and traditional limits, reinforcing a double sexual morality. The soap operas and feminism have intense relationships and continuous exchanges, but when represented, it is a “well-behaved” movement, which little reflects the plurality of this struggle, giving voice to stable and conservative models of representations, with a guise of “new discourse”, “current” and “liberal”. Nonetheless, they are extremely important products when dealing with this theme, as they are popular and accessible to everyone, and as they dialogue with easy transit in different contexts. This is intensified in Brazil, due to its great relevance in the various cultural contexts. |
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2022-08-02T11:32:00Z2022-08-02T11:32:00Z2020-06-15http://repositorio.ufsm.br/handle/1/25743The research investigates how female representations, in Brazilian soap operas, tensioned by hegemony and selective tradition, make the agendas of the feminist movement visible, from the 1960s to 2010. To answer this question, we analyze the soap operas Véu de Noiva (1969), Pecado Capital (1975), Coração Alado (1980), Explode Coração (1995), América (2005) and A Força do Querer (2017). The general objective is to analyze the relations between Brazilian soap operas and the feminist movement, through the representation of female characters, in six soap operas from the 1960s to 2010. Thus, we have as specific objectives: to map the elements of the historical and social context in each moment of the feminist movement in Brazil; verify how the production logics of the soap operas contribute to the representation of the themes through the characters; identify the feminist themes reinforced in the soap operas and recognize the elements used in the construction of the female characters of the soap operas. In order to achieve these objectives, we use the theoretical-methodological assumptions of the cultural studies, approach from which we develop the concepts such as cultural material, mediation, hegemony and tradition, and we also elaborate the cultural-media analysis, based on the cultural theory proposed by Raymond Williams (1979). Besides, we present a history of the feminist movement and its developments, mainly in the Brazilian context, based on Céli Pinto (2003, 2018), Maria Amélia Teles (2003, 2017) and Ilze Zirbel (2007). We also highlight the importance of soap operas in the Brazilian context, characterizing them as cultural products with a potential for articulating representations and also as a catalyst for debates on feminist themes, through Charlotte Brunsdon (1997), Ana Carolina Escosteguy (2003, 2019), Heloisa Buarque de Almeida (2002, 2003) and Clara Meirelles (2009). As a result, the visibility of the agenda in the soap operas is demonstrated through five themes: motherhood, violence against women, empowerment, labor market and sexual diversity, in addition to their consequences. In general, there is a representation through a white, little politicized, individualized and meritocratic feminism, which acts within conservative and traditional limits, reinforcing a double sexual morality. The soap operas and feminism have intense relationships and continuous exchanges, but when represented, it is a “well-behaved” movement, which little reflects the plurality of this struggle, giving voice to stable and conservative models of representations, with a guise of “new discourse”, “current” and “liberal”. Nonetheless, they are extremely important products when dealing with this theme, as they are popular and accessible to everyone, and as they dialogue with easy transit in different contexts. This is intensified in Brazil, due to its great relevance in the various cultural contexts.A presente pesquisa problematiza de que forma as representações femininas, nas telenovelas brasileiras, tensionadas pela hegemonia e tradição seletiva, visibilizam pautas do movimento feminista, ao longo das décadas de 1960 a 2010. Para responder tal indagação, analisamos as telenovelas Véu de Noiva (1969), Pecado Capital (1975), Coração Alado (1980), Explode Coração (1995), América (2005) e A Força do Querer (2017). O objetivo geral é o de analisar as relações existentes entre as telenovelas brasileiras e o movimento feminista, através da representação das personagens femininas, em seis telenovelas das décadas de 1960 a 2010. Assim, temos como objetivos específicos: mapear os elementos do contexto histórico e social vigentes em cada momento do movimento feminista no Brasil; verificar as lógicas de produção das telenovelas que contribuem para a representação das temáticas através das personagens femininas; identificar as temáticas feministas reforçadas nas telenovelas analisadas e reconhecer os elementos utilizados na construção das personagens femininas das telenovelas. Para isso, ancoramos nosso estudo nos pressupostos teórico-metodológicos dos estudos culturais, eixo a partir do qual desenvolvemos as noções de materialismo cultural, mediação, hegemonia e tradição, bem como elaboramos a análise cultural-midiática, a partir da teoria cultural proposta por Raymond Williams (1979). Apresentamos, também, um histórico do movimento feminista e de seus desdobramentos, principalmente, no contexto brasileiro, tendo como base Céli Pinto (2003, 2018), Maria Amélia Teles (2003, 2017) e Ilze Zirbel (2007). Destacamos, ainda, a importância das telenovelas no contexto brasileiro, caracterizando-as como produtos culturais com potencial articulador de representações e ainda como catalisador de debates sobre temáticas feministas, através de Charlotte Brunsdon (1997), Ana Carolina Escosteguy (2003, 2019), Heloisa Buarque de Almeida (2002, 2003) e Clara Meirelles (2009). Como resultado, temos que a visibilização das pautas nas telenovelas se dá através de cinco eixos: maternidade, violência contra a mulher, empoderamento, mercado de trabalho e diversidade sexual e de gênero, além dos desdobramentos delas. Em linhas gerais, o que se tem é uma representação através de um feminismo branco, pouco politizado, individualizado, meritocrático, que age dentro de limites conservadores e tradicionais, reforçando uma dupla moral sexual. As telenovelas e o feminismo possuem relações intensas e trocas contínuas, mas quando representado, é um movimento “bem-comportado”, que pouco reflete a pluralidade desta luta, dando voz a modelos estáveis e conservadores de representações, com uma roupagem de “discurso novo”, “atual” e “liberal”. Ainda assim, elas são produtos extremamente importantes ao pautarem tal tema, na medida em que são populares, acessíveis a todos e que dialogam com trânsito facilitado em diversos meios. Isto se intensifica no Brasil, devido a grande relevância que possuem nos variados contextos culturais.porUniversidade Federal de Santa MariaCentro de Ciências Sociais e HumanasPrograma de Pós-Graduação em ComunicaçãoUFSMBrasilComunicaçãoAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessEstudos culturaisFeminismoTelenovelaRepresentaçãoCultural studiesFeminismSoap operaRepresentationCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOFeminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileirasFeminism at 9 pm: female representations and the feminist movement’s agenda in brazilian soap operasinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisLisbôa Filho, Flavi Ferreirahttp://lattes.cnpq.br/9962424591141586Moraes, Ana Luiza CoiroBalieiro, Fernando de FigueiredoOliveira-Cruz, Milena Carvalho Bezerra Freire deRosário, Nísia Martins dohttp://lattes.cnpq.br/4361936721056339Henriques, Mariana Nogueira600900000008600600600600600600600bcd6bcdc-eeb9-4f5e-9fe6-ab6532de8d1d100f5c7b-3e0a-4672-a6e2-273f549b8fe9a44209c6-d2b7-4b79-9a91-8ae4ed4012aa3d7ffe16-3385-4d7f-befb-20793a803ad357d7985a-361a-42e4-b6b6-affa502bf0938a583f84-ba11-468c-b2a2-0b4aa40a16c4reponame:Repositório Institucional Manancial UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSMCC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8805http://repositorio.ufsm.br/bitstream/1/25743/2/license_rdf4460e5956bc1d1639be9ae6146a50347MD52LICENSElicense.txtlicense.txttext/plain; charset=utf-81956http://repositorio.ufsm.br/bitstream/1/25743/3/license.txt2f0571ecee68693bd5cd3f17c1e075dfMD53ORIGINALTES_PPGCOMUNICAÇÃO_2020_HENRIQUES_MARIANA.pdfTES_PPGCOMUNICAÇÃO_2020_HENRIQUES_MARIANA.pdfTese de Doutoradoapplication/pdf4269220http://repositorio.ufsm.br/bitstream/1/25743/1/TES_PPGCOMUNICA%c3%87%c3%83O_2020_HENRIQUES_MARIANA.pdfd278ce197dd5f7eb303ab8aec3e575d1MD511/257432022-08-02 08:32:01.245oai:repositorio.ufsm.br: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ório Institucionalhttp://repositorio.ufsm.br/PUBhttp://repositorio.ufsm.br/oai/requestouvidoria@ufsm.bropendoar:39132022-08-02T11:32:01Repositório Institucional Manancial UFSM - Universidade Federal de Santa Maria (UFSM)false |
dc.title.por.fl_str_mv |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
dc.title.alternative.eng.fl_str_mv |
Feminism at 9 pm: female representations and the feminist movement’s agenda in brazilian soap operas |
title |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
spellingShingle |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras Henriques, Mariana Nogueira Estudos culturais Feminismo Telenovela Representação Cultural studies Feminism Soap opera Representation CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
title_full |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
title_fullStr |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
title_full_unstemmed |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
title_sort |
Feminismo no horário das 9: representações femininas e pautas do movimento feminista em telenovelas brasileiras |
author |
Henriques, Mariana Nogueira |
author_facet |
Henriques, Mariana Nogueira |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Lisbôa Filho, Flavi Ferreira |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/9962424591141586 |
dc.contributor.referee1.fl_str_mv |
Moraes, Ana Luiza Coiro |
dc.contributor.referee2.fl_str_mv |
Balieiro, Fernando de Figueiredo |
dc.contributor.referee3.fl_str_mv |
Oliveira-Cruz, Milena Carvalho Bezerra Freire de |
dc.contributor.referee4.fl_str_mv |
Rosário, Nísia Martins do |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/4361936721056339 |
dc.contributor.author.fl_str_mv |
Henriques, Mariana Nogueira |
contributor_str_mv |
Lisbôa Filho, Flavi Ferreira Moraes, Ana Luiza Coiro Balieiro, Fernando de Figueiredo Oliveira-Cruz, Milena Carvalho Bezerra Freire de Rosário, Nísia Martins do |
dc.subject.por.fl_str_mv |
Estudos culturais Feminismo Telenovela Representação |
topic |
Estudos culturais Feminismo Telenovela Representação Cultural studies Feminism Soap opera Representation CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Cultural studies Feminism Soap opera Representation |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
The research investigates how female representations, in Brazilian soap operas, tensioned by hegemony and selective tradition, make the agendas of the feminist movement visible, from the 1960s to 2010. To answer this question, we analyze the soap operas Véu de Noiva (1969), Pecado Capital (1975), Coração Alado (1980), Explode Coração (1995), América (2005) and A Força do Querer (2017). The general objective is to analyze the relations between Brazilian soap operas and the feminist movement, through the representation of female characters, in six soap operas from the 1960s to 2010. Thus, we have as specific objectives: to map the elements of the historical and social context in each moment of the feminist movement in Brazil; verify how the production logics of the soap operas contribute to the representation of the themes through the characters; identify the feminist themes reinforced in the soap operas and recognize the elements used in the construction of the female characters of the soap operas. In order to achieve these objectives, we use the theoretical-methodological assumptions of the cultural studies, approach from which we develop the concepts such as cultural material, mediation, hegemony and tradition, and we also elaborate the cultural-media analysis, based on the cultural theory proposed by Raymond Williams (1979). Besides, we present a history of the feminist movement and its developments, mainly in the Brazilian context, based on Céli Pinto (2003, 2018), Maria Amélia Teles (2003, 2017) and Ilze Zirbel (2007). We also highlight the importance of soap operas in the Brazilian context, characterizing them as cultural products with a potential for articulating representations and also as a catalyst for debates on feminist themes, through Charlotte Brunsdon (1997), Ana Carolina Escosteguy (2003, 2019), Heloisa Buarque de Almeida (2002, 2003) and Clara Meirelles (2009). As a result, the visibility of the agenda in the soap operas is demonstrated through five themes: motherhood, violence against women, empowerment, labor market and sexual diversity, in addition to their consequences. In general, there is a representation through a white, little politicized, individualized and meritocratic feminism, which acts within conservative and traditional limits, reinforcing a double sexual morality. The soap operas and feminism have intense relationships and continuous exchanges, but when represented, it is a “well-behaved” movement, which little reflects the plurality of this struggle, giving voice to stable and conservative models of representations, with a guise of “new discourse”, “current” and “liberal”. Nonetheless, they are extremely important products when dealing with this theme, as they are popular and accessible to everyone, and as they dialogue with easy transit in different contexts. This is intensified in Brazil, due to its great relevance in the various cultural contexts. |
publishDate |
2020 |
dc.date.issued.fl_str_mv |
2020-06-15 |
dc.date.accessioned.fl_str_mv |
2022-08-02T11:32:00Z |
dc.date.available.fl_str_mv |
2022-08-02T11:32:00Z |
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doctoralThesis |
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http://repositorio.ufsm.br/handle/1/25743 |
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http://repositorio.ufsm.br/handle/1/25743 |
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por |
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por |
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600900000008 |
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openAccess |
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Universidade Federal de Santa Maria Centro de Ciências Sociais e Humanas |
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Programa de Pós-Graduação em Comunicação |
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UFSM |
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Brasil |
dc.publisher.department.fl_str_mv |
Comunicação |
publisher.none.fl_str_mv |
Universidade Federal de Santa Maria Centro de Ciências Sociais e Humanas |
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