Name: DAYANE SOARES ROSA
Publication date: 27/09/2021
Advisor:
Name |
Role |
|---|---|
| ARLENE BATISTA DA SILVA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ARLENE BATISTA DA SILVA | Advisor * |
| MARIA MIRTIS CASER | Internal Alternate * |
| MARIANA DOS PASSOS RAMALHETE | External Alternate * |
| VITOR CEI SANTOS | Internal Examiner * |
Summary: From the debates resulted around Cultural Studies and Deaf Studies, we present an investigation based on the cultural productions of the deaf individuals, especially related to literature as a poetic manifesto, registered by alternative means of circulation enhanced by the use of technology. The guiding reflection refers to the circulation spaces of literature in sign
language in respect of the self-productions in the cultural market, followed by other crossings related to: How is the deaf community represented in signed poetry? Who are the deaf literature producers highlighted in contemporary times? Who is the readership? Which circulation alternatives used by this peripheral literature? Based on this information, this dissertation aims to describe and analyze the poetic production of the deaf author Fábio de Sá
regarding to the modes of creation, circulation and consumption of these cultural objects in the presente time. Therefore, this investigation is justified by the importance of promoting the visibility of the deaf authors when producing literature, signaling the expansion in the cultural circuit through the cultural engagement of these authors considered peripheral in relation to the publishing market. The theoretical basis is attributed to the concepts mentioned by Stuart Hall (1997), Compagnon (1999), Candido (2000), Quadros & Sutton-Spence (2006), Strobel (2008), Garramuño (2014), Sutton-Spence (2021) among others. The material that supports this investigation corresponds to the poetic videos made available by the author Fábio de Sá
on his virtual platforms like Instagram, Youtube and Facebook in the years 2015 to 2020, alternatively, in data collected in interviews about the work of self-production in sign language. As a result, we found that Instagram social media has the largest number of poetic productions available, making a total of 72 works between poetry and Visual Vernacular. Secondly, the virtual platform Youtube, composed by 20 works, and thirdly, the social media Facebook, with 23 published works, only 4 of which are unpublished on this platform. We
found that the aesthetics of his productions are built through image descriptions (ID) that prioritize the visual mode, appropriating the body as a support to materialize his art and promote a sensitive experience in the reader regarding what it is seen, in addition to the linguistic resources provided by the richness of sign language. Thus, we believe that the displacement caused by this literature searches for the literary expansion in new social spaces, as their voices that scream in their artistic bodies are already legitimized as art by their
community.
