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Universidade Federal Fluminense UNIVERSIDADE FEDERAL FLUMINENSE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO JESSIKA CARDOSO DE MEDEIROS O ESTADO ISLÂMICO: PROCESSOS DE PRODUÇÃO DE IDENTIDADE NAS CAPAS DA DABIQ MAGAZINE Niterói 2020 JESSIKA CARDOSO DE MEDEIROS O ESTADO ISLÂMICO: PROCESSOS DE PRODUÇÃO DE IDENTIDADE NAS CAPAS DA DABIQ MAGAZINE Dissertação apresentada ao Programa de Pós-Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Orientador: Dr. Fernando Resende Niterói 2020 Ficha catalográfica automática - SDC/BCG Gerada com informações fornecidas pelo autor M488e Medeiros, Jessika Cardoso de O Estado Islâmico : Processos de produção de identidade nas capas da Dabiq Magazine / Jessika Cardoso de Medeiros ; Fernando Resende, orientador. Niterói, 2020. 138 f. : il. Dissertação (mestrado)-Universidade Federal Fluminense, Niterói, 2020. DOI: http://dx.doi.org/10.22409/PPGCOM.2020.m.14760809767 1. Estado Islâmico. 2. Dabiq Magazine. 3. Identidade. 4. Narrativa. 5. Produção intelectual. I. Resende, Fernando, orientador. II. Universidade Federal Fluminense. Instituto de Arte e Comunicação Social. III. Título. CDD - Bibliotecário responsável: Sandra Lopes Coelho - CRB7/3389 JESSIKA CARDOSO DE MEDEIROS O ESTADO ISLÂMICO: PROCESSOS DE PRODUÇÃO DE IDENTIDADE NAS CAPAS DA DABIQ MAGAZINE Dissertação apresentada ao Programa de Pós-Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. BANCA EXAMINADORA _______________________________________________ Profº. Dr. Fernando Antônio Resende (Orientador) Universidade Federal Fluminense (PPGCOM/UFF) _______________________________________________ Profª. Drª. Renata Torres Schittino Universidade Federal Fluminense (PPGH/UFF) _______________________________________________ Profº. Dr. Maurício Santoro Rocha Universidade do Estado do Rio de Janeiro (PPGRI/UERJ) Niterói 2020 À família e amigos por todo o suporte. AGRADECIMENTOS Em primeiro lugar, agradeço aos meus pais –Solange e Luiz Carlos- pelo apoio durante esses anos de pós-graduação. Entre idas e vindas para a UFF, UFRJ e CEPRI, sempre soube que teria em casa um local tranquilo e com afeto. Ao Fernando Resende que tornou possível a execução deste trabalho, graças à sua orientação tranquila e afetuosa. Obrigada por acreditar e me apoiar nessa pesquisa. Ao Programa de Pós-Graduação em Comunicação da Universidade Federal Fluminense (PPGCOM/UFF) que com o seu corpo docente e funcionários fizeram com que esse caminho fosse mais leve, com certeza só carrego elogios. Aos professores que conheci durante toda a minha trajetória, seja escolar, graduações, mestrado, entre outros, meus eternos agradecimentos por se dedicarem a essa profissão tão nobre e com tanto afinco, com certeza vocês foram importantes e fizeram a diferença na minha vida profissional. Aos amigos que fiz nesses anos de PPGCOM, vocês tiveram um lugar especial nessa longa jornada de crescimento pessoal e profissional. Em especial, tenho que agradecer à Marina Santos, não tenho como mensurar o quanto me ajudou a seguir na elaboração da dissertação e, como todo o suporte moral e amizade foram essenciais durante esse período. Ao Charles por todas as trocas, conversas, apoio e correções ao longo de todos esses anos, desde a graduação sendo um porto seguro. À Larissa por todos esses anos me incentivando e, com certeza, foi seu o pontapé inicial para o gosto pela pesquisa. Ao Felipe Simoni que há anos compartilha comigo discussões enriquecedoras sobre terrorismo e conflito e, foi em uma dessas conversas que consegui fechar o primeiro capítulo dessa pesquisa. Ao Diogo, Pablo e Jacqueline pelo compartilhamento de angústias mútuas, palavras de conforto e alegrias durante todo o caminho. Da Faculdade Nacional de Direito (FND) cito, principalmente, Júlia e Camila, pois foram incentivadoras desse processo de mestrado e graduação concomitantes. Mas, agradeço aos amigos que fiz na FND, todos sempre me encorajaram ao longo desses anos. Do CEPRI, sou grata a Marina Burck que sempre ouviu sobre a pesquisa com maior interesse e atenção e, ao Adel Bakkour pela preocupação e por ter carinhosamente traduzido algumas passagens necessárias para a pesquisa. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES). “Por que foi que cegámos, Não sei, talvez um dia se chegue a conhecer a razão, Queres que te diga o que penso, Diz, Penso que não cegámos, penso que estamos cegos, Cegos que vêem, Cegos que, vendo, não vêem.” (José Saramago, Ensaio sobre a cegueira, p. 310) RESUMO Esta pesquisa busca entender como o Estado Islâmico apresenta a própria narrativa e constrói sua identidade através das capas da Dabiq Magazine. Tendo as quinze capas do periódico como norte, parte-se para o esforço de compreender o caminho histórico do Estado Islâmico ao longo dos anos e, como o grupo se atenta ao fato de que, para se projetar internacionalmente é necessário instrumentalizar sua ação midiática. Portanto, dentro da ampla atuação midiática do grupo, a seleção do periódico online, Dabiq Magazine, se ancora na justificativa ser a publicação de maior duração em língua estrangeira (Inglês), além possuir uma carga simbólica na construção do imaginário acerca do Estado Islâmico. Para a execução da análise foi elaborada uma separação metodológica das capas em quatro categorias (expansão; conquista; Califado/Unicidade do Islã; autoridade/alteridade). Por fim, a pesquisa sugere que devido à inserção do grupo no tabuleiro internacional, deve-se olhar com atenção a construção que o grupo tem de si. Palavras-chave: Estado Islâmico; Identidade; capas; Dabiq Magazine. ABSTRACT The present research seeks to understand how the Islamic State presents its narrative and builds its identity on the covers of Dabiq Magazine. We consider the fifteen covers of the magazine as a guide, while making an effort to understand the historical path of the Islamic State over the years and, as the group employs different tools in order to project itself internationally. Within the vast media performance of the group, the selection of the online periodical Dabiq Magazine is anchored in the justification that it is the longest stangind publication in a foreign language (English), while also having a symbolic meaning in the construction of the imaginary about the Islamic State. For the execution of our analysis, we have devided the magazine’s covers into four methodological categories: expansion; conquest; Caliphate/Oneness of Islam; authority/otherness. Finally, our research suggests that due to the insertion of the group on the international board, one should look carefully at the discourse that the group produces of itself. Keywords: Islamic State; identity; covers; Dabiq Magazine. LISTA DE FIGURAS Figura 1: DABIQ #1 (DABIQ MAGAZINE, 2014a) ........................................................................... 10 Figura 2: DABIQ MAGAZINE, 2014c, p. 41 ....................................................................................... 55 Figura 3: https://www.aljazeera.com .................................................................................................... 55 Figura 4: DABIQ #11 (DABIQ MAGAZINE, 2015e) ......................................................................... 57 Figura 5: DABIQ #1 (DABIQ MAGAZINE, 2014a) ........................................................................... 62 Figura 6: DABIQ #2 (DABIQ MAGAZINE, 2014b) ........................................................................... 63 Figura 7: DABIQ #3(DABIQ MAGAZINE, 2014c) ............................................................................ 63 Figura 8: DABIQ #4 (DABIQ MAGAZINE, 2014d) ........................................................................... 65 Figura 9: CAPA DABIQ #1 (DABIQ MAGAZINE, 2014a) ................................................................ 72 Figura 10: CAPA DABIQ #6 (DABIQ MAGAZINE, 2014f) .............................................................. 74 Figura 11: (MOORE, 2007) .................................................................................................................. 74 Figura 12: CAPA DABIQ #15 (DABIQ MAGAZINE, 2016c) ............................................................ 76 Figura 13: (DABIQ MAGAZINE, 2015d, p. 59) .................................................................................. 76 Figura 14: CAPA DABIQ #3 (DABIQ MAGAZINE, 2014c) .............................................................. 78 Figura 15: CAPA DABIQ #4 (DABIQ MAGAZINE, 2014d) ............................................................. 80 Figura 16: Praça de São Pedro em frente à Basílica de São Pedro, no Vaticano (FORBES, 2020)...... 80 Figura 17: CAPA DABIQ #10 (DABIQ MAGAZINE, 2015d) ........................................................... 82 Figura 18: CAPA DABIQ #12 (DABIQ MAGAZINE, 2015f) ............................................................ 85 Figura 19: Foto original de Jacques Brinon (Associated Press), disponível para visualização em Gallagher (2015) ................................................................................................................................... 85 Figura 20: CAPA DABIQ #5 (DABIQ MAGAZINE, 2014e) .............................................................. 90 Figura 21: CAPA DABIQ
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