Dor, negritude e resistência em discursos poéticos "da ponte pra cá"

• Autor(a) principal: Reis, Cristiano Lima de Araujo
• Data de Publicação: 2019
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: http://dspace.mackenzie.br/handle/10899/25218
• topic: negritude; sofrimento; resistência; semiótica; Cruz e Sousa; Racionais MC’s; rap; simbolismo brasileiro; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

The present study revolves around the production processes of the meanings of suffering and blackness in the works of Santa Catarina-born poet João da Cruz e Sousa and of São Paulobased rap group Racionais MC’s. With a corpus restricted to the 1898 book Evocações and the 2002 album Nada como um dia após outro dia, our aim has been to analyze the shifts and continuities in the aforementioned meanings within the selected works, far apart in space as well as in time, with the ultimate goal of identifying linguistic patterns which allowed us to outline, if only in a preliminary fashion, a poetics of blackness. In this interest, we turn to the theoretical and methodological framework of French-school discourse semiotics, on the grounds that this framework offers us the tools needed for the intended analysis. Thus, Sousa’s prose poems Triste, Dor Negra, Asco and Emparedado, as well as Racionais MC’s’ tracks Sou + Você, Negro Drama and Da Ponte pra Cá, were analyzed from the standpoint of the generative trajectory of meaning (percurso gerativo do sentido), which includes the fundamental, narrative and discourse levels, with an emphasis on the latter, where the thematic and figurative trajectories were analyzed. Similarly, we investigated aspects of the plane of expression which are responsible for the formation of semi-symbolisms within the texts of both the poet and the rap group. The in-depth analysis of the discourse level and of the plane of expression enabled what we here refer to as the aesthetics of resistance. Within the context of this research, this label points to the process of aestheticization of suffering through black voices, which may occur in two ways: 1) centripetally, when the subject of enunciation “draws” the addressee into his subjectivity and invites him to share in his suffering, thus carrying out, by means of a kind of “cognitive revenge”, a retribution for the hostility he must face from society as of consequence of his ethnic and social condition; 2) centrifugally, when the subject of enunciation also shares his suffering with the addressee, but does so in a more objective and practical manner, in order to socially mobilize the latter into adopting of posture of resistance himself.