Youtubers e a polêmica discursiva sobre a condição de ser negro no Brasil

• Autor(a) principal: Alves, Francielle Ribeiro
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFU
• Texto Completo: https://repositorio.ufu.br/handle/123456789/34738; http://doi.org/10.14393/ufu.di.2021.641
• topic: Polêmica discursiva; Par hipergênero/cenografia; Ethos discursivo; Youtube; Comunidade negra; Discursive controversy; Hypergender/scenography pair; Discursive ethos; Youtube; Black community; CNPQ::LINGUISTICA, LETRAS E ARTES; Linguística; Análise do discurso - aspectos políticos; Negros - Brasil - Cultura; Youtube (recurso eletrônico) - Redes sociais on-line

Youtube platform has gained visibility and lots of users over the last years, since it enables the creation of channels to elaborate and expose specific content, likely to generate monetization for their creators. In the black community, many youtubers dedicate themselves to making community-oriented contents, addressing themes such as racism, colorism and visibility on the media. In this context, there’s a controversy around the definition of what it means to "be black", which has placed two YouTubers from that community in an antagonistic relationship, namely, Lívia Zaruty and Spartakus Santiago, who stand in different positions regarding this issue. In this dissertation, we propose to analyze, from the concepts of discursive controversy, intermisunderstanding and simulacrum, postulated by Dominique Maingueneau (2007), how the controversy between these two different enunciative positions takes place. In addition, to carry on with the analysis, we will also mobilize the conceptual pair hypergender and scenography (MAINGUENEAU, 2008), as well as the concept of ethos (MAINGUENEAU, 2007; 2010). Thus, considering the Youtube platform as a hypergenre, the discursive identity of each channel/youtuber happens, according to Maingueneau, fundamentally through the scenography. We will aim to demonstrate, as a way of contributing to the theory, that beyond to the hypergender/scenography pair, it is also necessary to consider, as essential, the instance of the discursive ethos in the analysis of the constitution of discursive identities, when it comes to hypergenres. In other words, what we will seek to demonstrate is that, although the architecture of each YouTube channel is very similar (according to the hypergenre, material restrictions are strong and socio-historical restrictions are weak), the identity of each one and each speaker/ youtuber is based not only on scenography, but also on ethos. As for the research methodology, we will follow Maingueneau (2007), according to whom the methodological treatment of the corpus should start from hypotheses based on history and a set of texts, and the analysis of this set may confirm or refute the established hypotheses. From this methodological perspective, the overlapping between text and context, or rather, between discourse and production conditions is radical, and the corpus approach must consider those, so that texts are always analyzed as discursive practices with subjects inscribed in positions, and never as autonomous materialities.