Literatura e plataforma : o entrecruzamento de narrativas literárias e affordances do Twitter

• Ano de defesa: 2024
• Autor(a) principal: Silva, Denilson Patrick Oliveira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Instituto de Linguagens (IL); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Estudos de Linguagem
• Palavras-chave em Português: Twitter; Twitteratura; Affordances; Narrativa; Algoritmos; CNPQ::LINGUISTICA, LETRAS E ARTES; Twitterature; Narrative; Algorithms
• Link de acesso: http://ri.ufmt.br/handle/1/6616

Social media are at the heart of many contemporary cultural practices and human relations, from politics to leisure, from affection to hate speech, and, of course, also in literary production. In this context, experimentalisms, hybridization, remediation, and even new literary aesthetics emerge from social networks. Twitterature, literature written and mediated on Twitter, is one of the emerging fields of this medium and the object of research of this dissertation. Thus, based on the studies of electronic literature by Flores (2021), of mediation by Debray (1993), of affordances in social networks by Ronzhyn (et al, 2023), and of algorithmic influence on users navigation by Da Silveira (2019) we analyze different works produced on this network that extend across several tweets, identifying the different verbal, nonverbal, and interaction elements used in their composition and also establishing the connections of meaning resulting from the symbiosis between Twitter affordances and literature on this network, besides, we analyze the twitterature market. To this end, we selected four works: Eu, a vó e a boi, by Eduardo Hanzo (2017); Querido, David, by Adam Ellis (2017); Descobri um assassinato no Twitter, by Modesto Garcia (2018); and O anjo da guarda, by Nagore Suárez (2019). The analyses show that the works: explore popular themes on the platform; take advantage of the fine line between reality and fiction to generate engagement; prefer to use the first person singular to, in a way, bring the narrative closer to the readers; use different strategies to compose characters, some rely on the creative use of the network, others limit themselves to textual composition; have a strong aesthetic connection with brevity, which influences several aspects of the works; and use images and videos to, among other things, build the setting in the works; have different production, reading and circulation dynamics; and are directly influenced by algorithms. In this way, the narrative strategies converge with Twitter tools, creating productions that, in their original form, are inseparable from the platform.