Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si
Ano de defesa: | 2020 |
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Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | , , , |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal de Santa Maria
Centro de Artes e Letras |
Programa de Pós-Graduação: |
Programa de Pós-Graduação em Letras
|
Departamento: |
Letras
|
País: |
Brasil
|
Palavras-chave em Português: | |
Palavras-chave em Inglês: | |
Área do conhecimento CNPq: | |
Link de acesso: | http://repositorio.ufsm.br/handle/1/22110 |
Resumo: | The present thesis addresses the order of the body as a discursive materiality that enables the inscription/ ―escrituração‖ /writting of subject. The corpography of pain in the process of becoming a woman is discussed through the body, more specifically in situations where the subject produces cuts/self-mutilations. This work is affiliated with the theoretical-analytical field of French Discourse Analysis, recommended by Pêcheux, in France, and unfolded by Eni Orlandi in Brazil, in dialogue with Psychoanalysis assumptions. The thesis situates the subject endowed with unconscious and ideologically challenged, who experiences a process of imaginary construction of the body, which composes looks and speeches about it. A cuted and mutilated body, whose entrails, grooves and bleeds produce a corpography, a writing, a gesture of ―re(ex)sistência‖. In this study, three discursive materialities are analyzed - posts made by girls who cut themselves on Facebook, blogs and Tumblr - images and narratives that were published on the web; discursive sequences of the Black Swan film (following the path of Nina, the queen of the Swans, and the antagonism of the subject positions demanded by her mother and her trainer from the ballet company); clippings from the fiction ―UmaDuas”, by Eliane Brum, written in blood, witnessing Laura's pain in her process of separating from her mother and positioning herself as a woman. When working with archives of audiovisual status - images, photography, film materiality - with fictional writing and digital speech, considered as discursive processes, constitutively incomplete and contradictory, tracing a path for reading the archive that takes into account the productions and reproductions of speeches: marks of polysemy, opacities, places of plurivocity of the senses. The analysis of the significant material imbrications of these archives has led to attention the elements of discursive memory, ideological components and contradictions between the subject positions in such materials. As regularities, it's seen that the body announces and denounces a corpography of subjective pain, in addition to putting into play the discursive and ideological formations of social practices. Still, the paradox between what lies in the field of excesses, overflows, the imperative of jouissance, completeness, ideals, and what lies in the field of emptiness, lack, helplessness, pain, fragility of symbolic references, the erasure of alterity and the destitution/disappearance of the subject of desire, elements linked to the conditions of production linked to the contemporary subject-historical form. In addition, the body is situated as a living archive, which produces a mosaic of lines, cuts, marks, scars that discursivize the problem of the constitution of femininity. The outline of the writing, the blade or the tears in the skin tell a story, contain memories, appeal for inscription. They stage something of mourning, loss, enjoyment, the real. They beg for borders and frontiers, for looks and eavesdropping. They are configured as sayings on the scene: in the body, in the blade edge, in digital space, in the writing that makes a body of letters. Still, they refer to what has been denied the social symptom and which returns, in a sinister, strangely familiar way, through the body and its insides, its holes, its cuts. Return of what does not cease to enroll. Sayings from a writing that re-calls for inscription. |
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2021-08-30T21:03:38Z2021-08-30T21:03:38Z2020-06-05http://repositorio.ufsm.br/handle/1/22110The present thesis addresses the order of the body as a discursive materiality that enables the inscription/ ―escrituração‖ /writting of subject. The corpography of pain in the process of becoming a woman is discussed through the body, more specifically in situations where the subject produces cuts/self-mutilations. This work is affiliated with the theoretical-analytical field of French Discourse Analysis, recommended by Pêcheux, in France, and unfolded by Eni Orlandi in Brazil, in dialogue with Psychoanalysis assumptions. The thesis situates the subject endowed with unconscious and ideologically challenged, who experiences a process of imaginary construction of the body, which composes looks and speeches about it. A cuted and mutilated body, whose entrails, grooves and bleeds produce a corpography, a writing, a gesture of ―re(ex)sistência‖. In this study, three discursive materialities are analyzed - posts made by girls who cut themselves on Facebook, blogs and Tumblr - images and narratives that were published on the web; discursive sequences of the Black Swan film (following the path of Nina, the queen of the Swans, and the antagonism of the subject positions demanded by her mother and her trainer from the ballet company); clippings from the fiction ―UmaDuas”, by Eliane Brum, written in blood, witnessing Laura's pain in her process of separating from her mother and positioning herself as a woman. When working with archives of audiovisual status - images, photography, film materiality - with fictional writing and digital speech, considered as discursive processes, constitutively incomplete and contradictory, tracing a path for reading the archive that takes into account the productions and reproductions of speeches: marks of polysemy, opacities, places of plurivocity of the senses. The analysis of the significant material imbrications of these archives has led to attention the elements of discursive memory, ideological components and contradictions between the subject positions in such materials. As regularities, it's seen that the body announces and denounces a corpography of subjective pain, in addition to putting into play the discursive and ideological formations of social practices. Still, the paradox between what lies in the field of excesses, overflows, the imperative of jouissance, completeness, ideals, and what lies in the field of emptiness, lack, helplessness, pain, fragility of symbolic references, the erasure of alterity and the destitution/disappearance of the subject of desire, elements linked to the conditions of production linked to the contemporary subject-historical form. In addition, the body is situated as a living archive, which produces a mosaic of lines, cuts, marks, scars that discursivize the problem of the constitution of femininity. The outline of the writing, the blade or the tears in the skin tell a story, contain memories, appeal for inscription. They stage something of mourning, loss, enjoyment, the real. They beg for borders and frontiers, for looks and eavesdropping. They are configured as sayings on the scene: in the body, in the blade edge, in digital space, in the writing that makes a body of letters. Still, they refer to what has been denied the social symptom and which returns, in a sinister, strangely familiar way, through the body and its insides, its holes, its cuts. Return of what does not cease to enroll. Sayings from a writing that re-calls for inscription.A presente tese aborda a ordem do corpo enquanto materialidade discursiva que possibilita a inscrição/escrituração/escrita do sujeito. Pela via do corpo, mais especificamente nas situações em que o sujeito produz cortes/automutilações, discorremos acerca da corpografia da dor no processo de vir-a-ser mulher. O trabalho filia-se ao campo teórico-analítico da Análise de Discurso francesa, preconizada por Pêcheux, na França, e desdobrada por Eni Orlandi no Brasil, em diálogo com pressupostos da Psicanálise. Situamos o sujeito dotado de inconsciente e interpelado ideologicamente, que vivencia um processo de construção imaginária do corpo, que compõe olhares e discursos sobre ele. Um corpo cortado, mutilado, cujas entranhas, sulcos, sangrias produzem uma corpografia, uma escrita, um gesto de re(ex)istência. Neste estudo, analisamos três materialidades discursivas – postagens de meninas que se produzem cortes corporais, no facebook, blogs e tumblr, a partir de imagens e narrativas publicizadas no espaço digital; sequências discursivas do filme Cisne Negro (acompanhando o percurso de Nina, a rainha dos Cisnes, e o antagonismo das posições-sujeito que lhe demandam sua mãe e seu treinador da companhia de ballet); e recortes da ficção UmaDuas, de Eliane Brum, uma escrita à sangue, testemunhando as dores de Laura no seu processo de separar-se da mãe e posicionar-se enquanto mulher. Ao trabalharmos com arquivos de estatuto audiovisual - imagens, fotografia, materialidade fílmica –, com a escrita ficcional e com o discurso digital, estamos considerando-os como processos discursivos, constitutivamente incompletos e contraditórios, traçando um caminho de leitura do arquivo que leva em conta as produções e reproduções de discursos: marcas da polissemia, opacidades, lugares de plurivocidade dos sentidos. A análise das imbricações materiais significantes desses arquivos nos leva a atentar aos elementos relativos à memória discursiva, aos componentes ideológicos e às contradições entre as posições-sujeito em tais materialidades. Como regularidades, visualizamos que o corpo anuncia e denuncia uma corpografia da dor subjetiva, além de pôr em cena as formações discursivas e ideológicas das práticas sociais. Ainda, o paradoxo entre o que se situa no campo dos excessos, dos transbordamentos, do imperativo do gozo, da completude, dos ideais, e o que se situa no campo do vazio, da falta, do desamparo, da dor, da fragilidade das referências simbólicas, dos apagamentos da alteridade e da destituição/desaparição do sujeito do desejo, elementos atrelados às condições de produção vinculadas à forma-sujeito-histórica contemporânea. Além disso, situamos o corpo como um arquivo vivo, que produz um mosaico de traços, cortes, marcas, cicatrizes que discursivizam a problemática da constituição da feminilidade. O traçado da escrita, da lâmina ou os rasgos na pele contam uma história, comportam memórias, apelam por inscritura. Encenam algo do luto, da perda, do gozo, do real. Suplicam por bordas e fronteiras, por olhares e escutas. Configuram-se como dizeres em cena: no corpo, no fio da lâmina, no espaço digital, na escrita que se faz um corpo de letras. Ainda, remetem ao que foi denegado do sintoma social e que retorna, de maneira sinistra, estranhamente familiar, pela via do corpo e suas entranhas, seus furos, seus cortes. Retorno do que não cessa de não se inscrever. Dizem de uma escrita que re-clama por inscrição.porUniversidade Federal de Santa MariaCentro de Artes e LetrasPrograma de Pós-Graduação em LetrasUFSMBrasilLetrasAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessAnálise de discursoCorpoSujeitoPsicanáliseGrafia da dorDiscourse analysisBodySubjectPsychoanalysisPain spellingCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASDiscurso, sujeito e corpo: a grafia da dor como ins(es)crituração de siSpeech, subject and body: the spelling of the pain as “ins(es)crituração” of itselfinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisSilveira, Verli Fátima Petri dahttp://lattes.cnpq.br/4907455690392249Ferreira, Maria Cristina LeandroSousa, Lucília Maria Abrahão eDias, Cristiane Pereira CostaBiazus, Camilla Baldicerahttp://lattes.cnpq.br/5076537077633629Jordão, Aline Bedin8002000000016006006006006006006006d9cd119-2918-41b0-b563-448e5e97ae069c7ec54e-c47d-4518-a4de-cb1a6a0f584808e6df19-37e1-4c00-a9ac-04e88adc9bdf0976ed48-3b7d-4b20-823d-e48de95dd34de548ce25-5cc9-4c29-8f7f-c07bf722163b42935c4c-3afb-4aff-837c-22683cf432a2reponame:Biblioteca Digital de Teses e Dissertações do UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSMORIGINALTES_PPGLETRAS_2020_JORDAO_ALINE.pdfTES_PPGLETRAS_2020_JORDAO_ALINE.pdfTeseapplication/pdf6965808http://repositorio.ufsm.br/bitstream/1/22110/1/TES_PPGLETRAS_2020_JORDAO_ALINE.pdfcb13f31c55c1e1ba0933f6cd6dce4325MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; 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dc.title.por.fl_str_mv |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
dc.title.alternative.eng.fl_str_mv |
Speech, subject and body: the spelling of the pain as “ins(es)crituração” of itself |
title |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
spellingShingle |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si Jordão, Aline Bedin Análise de discurso Corpo Sujeito Psicanálise Grafia da dor Discourse analysis Body Subject Psychoanalysis Pain spelling CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
title_full |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
title_fullStr |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
title_full_unstemmed |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
title_sort |
Discurso, sujeito e corpo: a grafia da dor como ins(es)crituração de si |
author |
Jordão, Aline Bedin |
author_facet |
Jordão, Aline Bedin |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Silveira, Verli Fátima Petri da |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/4907455690392249 |
dc.contributor.referee1.fl_str_mv |
Ferreira, Maria Cristina Leandro |
dc.contributor.referee2.fl_str_mv |
Sousa, Lucília Maria Abrahão e |
dc.contributor.referee3.fl_str_mv |
Dias, Cristiane Pereira Costa |
dc.contributor.referee4.fl_str_mv |
Biazus, Camilla Baldicera |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/5076537077633629 |
dc.contributor.author.fl_str_mv |
Jordão, Aline Bedin |
contributor_str_mv |
Silveira, Verli Fátima Petri da Ferreira, Maria Cristina Leandro Sousa, Lucília Maria Abrahão e Dias, Cristiane Pereira Costa Biazus, Camilla Baldicera |
dc.subject.por.fl_str_mv |
Análise de discurso Corpo Sujeito Psicanálise Grafia da dor |
topic |
Análise de discurso Corpo Sujeito Psicanálise Grafia da dor Discourse analysis Body Subject Psychoanalysis Pain spelling CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
dc.subject.eng.fl_str_mv |
Discourse analysis Body Subject Psychoanalysis Pain spelling |
dc.subject.cnpq.fl_str_mv |
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
The present thesis addresses the order of the body as a discursive materiality that enables the inscription/ ―escrituração‖ /writting of subject. The corpography of pain in the process of becoming a woman is discussed through the body, more specifically in situations where the subject produces cuts/self-mutilations. This work is affiliated with the theoretical-analytical field of French Discourse Analysis, recommended by Pêcheux, in France, and unfolded by Eni Orlandi in Brazil, in dialogue with Psychoanalysis assumptions. The thesis situates the subject endowed with unconscious and ideologically challenged, who experiences a process of imaginary construction of the body, which composes looks and speeches about it. A cuted and mutilated body, whose entrails, grooves and bleeds produce a corpography, a writing, a gesture of ―re(ex)sistência‖. In this study, three discursive materialities are analyzed - posts made by girls who cut themselves on Facebook, blogs and Tumblr - images and narratives that were published on the web; discursive sequences of the Black Swan film (following the path of Nina, the queen of the Swans, and the antagonism of the subject positions demanded by her mother and her trainer from the ballet company); clippings from the fiction ―UmaDuas”, by Eliane Brum, written in blood, witnessing Laura's pain in her process of separating from her mother and positioning herself as a woman. When working with archives of audiovisual status - images, photography, film materiality - with fictional writing and digital speech, considered as discursive processes, constitutively incomplete and contradictory, tracing a path for reading the archive that takes into account the productions and reproductions of speeches: marks of polysemy, opacities, places of plurivocity of the senses. The analysis of the significant material imbrications of these archives has led to attention the elements of discursive memory, ideological components and contradictions between the subject positions in such materials. As regularities, it's seen that the body announces and denounces a corpography of subjective pain, in addition to putting into play the discursive and ideological formations of social practices. Still, the paradox between what lies in the field of excesses, overflows, the imperative of jouissance, completeness, ideals, and what lies in the field of emptiness, lack, helplessness, pain, fragility of symbolic references, the erasure of alterity and the destitution/disappearance of the subject of desire, elements linked to the conditions of production linked to the contemporary subject-historical form. In addition, the body is situated as a living archive, which produces a mosaic of lines, cuts, marks, scars that discursivize the problem of the constitution of femininity. The outline of the writing, the blade or the tears in the skin tell a story, contain memories, appeal for inscription. They stage something of mourning, loss, enjoyment, the real. They beg for borders and frontiers, for looks and eavesdropping. They are configured as sayings on the scene: in the body, in the blade edge, in digital space, in the writing that makes a body of letters. Still, they refer to what has been denied the social symptom and which returns, in a sinister, strangely familiar way, through the body and its insides, its holes, its cuts. Return of what does not cease to enroll. Sayings from a writing that re-calls for inscription. |
publishDate |
2020 |
dc.date.issued.fl_str_mv |
2020-06-05 |
dc.date.accessioned.fl_str_mv |
2021-08-30T21:03:38Z |
dc.date.available.fl_str_mv |
2021-08-30T21:03:38Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://repositorio.ufsm.br/handle/1/22110 |
url |
http://repositorio.ufsm.br/handle/1/22110 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.cnpq.fl_str_mv |
800200000001 |
dc.relation.confidence.fl_str_mv |
600 600 600 600 600 600 600 |
dc.relation.authority.fl_str_mv |
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Universidade Federal de Santa Maria Centro de Artes e Letras |
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