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ST 02 Danielle Barbosa Lins De Almeida - UFSC/UFPB Viviane M Anais do VII Seminário Fazendo Gênero 28, 29 e 30 de 2006 Sobre gênero e preconceitos: Estudos em análise crítica do discurso – ST 02 Danielle Barbosa Lins de Almeida - UFSC/UFPB Viviane M. Heberle - UFSC As Bonecas da Contemporaneidade: Representações Midiáticas da Identidade Feminina O objetivo desse artigo é propor uma reflexão acerca dos brinquedos enquanto representações semióticas de ‘atores sociais de gênero’ (Caldas Coulthard & van Leeuwen, 2002), a partir da discussão sobre os papéis que bonecas contemporâneas de moda como Barbie, Susi e The Bratz evocam, a fim de examinar como a identidade feminina vem sendo representada pela mídia de dois países distintos – Brasil e Estados Unidos – através de típicas expressões do universo infantil. A análise inclui desvendar alguns dos valores que são incorporados às referidas representações bem como investigar o potencial de negociação da criança no sentido de desafiar as estruturas de significado que subjazem as identidades das chamadas ‘bonecas da contemporaneidade’. Palavras-Chave: bonecas, papéis, identidade. 1. Introdução Em suas inúmeras versões pelo mundo afora, as bonecas são mais comumente conhecidas por seu papel como objetos tridimensionais pertencentes ao universo infantil. Como símbolo inconfundível da infância, o mundo das bonecas não tem sido suficientemente explorado em pesquisas acadêmicas, visto que há relativamente poucos estudos que enfatizam a função das bonecas como fonte de conhecimento social, histórico e cultural (Peers, 2004). Historicamente, em sociedades como o Egito e a Melanésia, às bonecas eram atribuídas uma função mística, sendo então vistas como forma de se espantar maus espíritos e enfermidades, de se conferir proteção e de se prover acesso direto às dimensões espirituais da vida (Fraser, apud Kline, 1993, p. 193). Se vistas como fetiches, medicamentos, mecanismos religiosos, ou até mesmo modelos artísticos de forças para além da experiência humana convencional, o fato é que o potencial simbólico das bonecas não deve ser apenas considerado em sua relação com o universo infantil. Em sua fase incipiente, as bonecas eram destinadas a um mercado 1 Anais do VII Seminário Fazendo Gênero 28, 29 e 30 de 2006 consumidor adulto e suas versões iniciais eram feitas em materiais tão diversos quanto cera e papel machê (Fleming, 1996). Com o tempo e sua produção industrial especializada, as bonecas passaram a ser incorporadas na cultura infantil, assumindo, assim, personalidades específicas como as de bebês, cujas representações extremamente realísticas contribuíam para introduzir garotinhas às suas futuras atribuições maternais. Como Roland Barthes (1957, p. 52-3) sugere, as bonecas constituem um “microcosmo do mundo adulto”, especialmente quando realisticamente representadas: [...] Há, por exemplo, bonecas que urinam; são dotadas de esôfago, dá-lhes o biberão, molham as fraldas; dentro em pouco, sem dúvida alguma, o leite se transformará em água na barriga. Desde modo, se pode preparar a rapariguinha para a causalidade doméstica, “condicioná-la” para o seu futuro papel de mãe (...)”. Com efeito, dentro do universo dos brinquedos, a categoria das bonecas tem se desenvolvido ao longo dos séculos como prova do fascínio adulto por representações que não apenas revelam as preferências do brincar infantil, mas que também refletem a forma como o adulto vê a própria criança (Fleming, 1996). 2. As Bonecas, seus Papéis e Identidades Os processos ritualísticos envolvidos na brincadeira com bonecas, como dar banho e vestir, podem, segundo Fleming (ibid.), caracterizá-la como um tipo de atividade extremamente livre, uma vez que estes rituais podem assumir significados diferentes daqueles previamente concebidos pelos fabricantes de brinquedos. Esta visão parece ser compartilhada por Wright (2003), que argumenta que as identidades subscritas às bonecas são altamente ‘sugestionáveis’, porém não ‘deterministas’, uma vez que estas permanecem sob um constante ‘estado de revisão’ pela criança durante a brincadeira, cabendo à criança transformar, por exemplo, uma ‘Susi Balada’ em uma ‘Susi Moda Praia’. Um dos principais argumentos de Wright (ibid.) é que a criança ‘imaginadora’ tem total liberdade para propor várias identidades à boneca com a qual brinca se assim o desejar, criando, desta forma, uma infinidade de possibilidades para o que ela define como as ‘verdades ficcionais’1 do mundo das bonecas, proposições que podem ou não ser reais em um mundo fictício (ibid.). As características do que Wright (ibid.) se refere como ‘verdades ficcionais’ na representação das bonecas podem ser interpretadas como a influência direta que os valores do 2 Anais do VII Seminário Fazendo Gênero 28, 29 e 30 de 2006 contexto sócio-cultural da criança exercem na sua simbolização de uma mulher particular, com nome, cultura e identidade própria. De acordo com Wright (ibid.), ao transferir, automaticamente, os seus valores sócio-culturais para a representação de uma determinada boneca – ou para a ‘verdade ficcional’ de uma determinada boneca – as crianças estão criativamente re-interpretando sua identidade social, o que certamente reafirma o papel das bonecas enquanto ícones representativos dos papéis sociais e dos valores de uma esfera bem maior em termos de mundo real, justificando seu valor como objetos fictícios e ao mesmo tempo, não-fictícios. Através do processo de auto-criação, a brincadeira com bonecas conduz as crianças a uma forma imaginária de antecipar sua atuação em futuros papéis sociais como adultos. Bonecas como Susi e Barbie, podem, por exemplo, prover imagens do que é esteticamente preferível, embora suas funções como recursos criativos possam ir mais além, ao permitir à criança transgredir as regras durante o processo de construção de imagem daquelas bonecas. Isto nos leva a inferir que embora as identidades propostas às bonecas sejam, de fato, sugestionáveis, ao dar-lhes novos nomes, trocar-lhes seus papéis e colocar-lhes tatuagens, as crianças estão atualizando suas crenças e sentindo-se livres para ignorar tais sugestões e re- visitar suas possibilidades de significado. Ao promoverem mudanças na aparência estética das bonecas, por exemplo, as crianças estão fazendo uso das mesmas não somente enquanto figuras representativas da identidade feminina, mas também enquanto recursos criativos, passíveis de terem suas personalidades modificadas das mais diversas formas. Com efeito, ao serem concomitantemente representadas em atividades que variam de mergulho e rally a afazeres domésticos, bonecas como a Susi deixam em aberto questões concernentes à sua identidade, que apenas às crianças cabe a resposta. Sendo assim, se limitadas por um universo narrativo supostamente imposto ou se capazes de transcender os significados oferecidos aos brinquedos, resta somente às crianças moldar a natureza de sua brincadeira infantil. Ao considerar seu papel (cri) ativo de ‘imaginadora’, como algo legítimo e essencial para se desafiar as identidades sugestionáveis sobre as quais a criança pode – e deve – criar seus próprios roteiros, Barbie, Susi e outras bonecas do gênero deixam de ser ‘representações fixas inegociáveis’ (Caldas Coulthard & van Leeuwen, 2004) e passam a atuar como meios eficazes de socialização e expressão da realidade infantil. 3 Anais do VII Seminário Fazendo Gênero 28, 29 e 30 de 2006 2.1. Bonecas de Moda: Representações Semióticas de um Mundo Fashion Em tempos de disseminadas fashion weeks, as chamadas ‘bonecas de moda’ – ou bonecas fashion – destacam-se entre outras categorias do gênero por agregarem valores relacionados à moda, aparência, beleza, juventude e consumo. Elas estendem o conceito de bonecas ao encapsularem a sua relação com mundo da moda. O exemplo mais representativo deste sub-gênero das bonecas responde pelo nome de Barbie, a boneca de moda que os estudiosos tendem a destratar apesar de sua inegável importância para a cultura popular, como se pode observar em artigos acadêmicos que contemplam o potencial da Barbie como referência para análises críticas culturais (ibid.). Atualmente, as bonecas norte-americanas The Bratz sintetizam os valores agregados às chamadas bonecas de moda. Composta por cinco bonecas de variadas ascendências culturais e seus respectivos pares, a coleção The Bratz promove, segundo o seu idealizador, o empresário iraniano Isaac Larian, uma identificação imediata por parte do público infantil, uma vez que o visual conferido às bonecas se destaca por seu estilo contemporâneo e não apresenta o modelo idealizado de beleza juvenil promulgado por bonecas como a Barbie. Além de vestidas à moda funk, as Bratz chamam atenção pelos lábios protuberantes, os olhos fortemente pintados e a aparência expressiva através de suas cabeças e pés salientes o que, de acordo com Larian, faz com que seu público-alvo se projete ao papel de Bratz no presente ou em um futuro próximo. O texto abaixo, extraído do website das The Bratz, retrata a íntima relação das referidas bonecas com o mundo da moda. Para elas, ‘estar bem’ é ‘vestir-se bem’: É espetacular a moda com as Bratz, garotas apaixonadas por moda! Com seu novo visual, estas garotas super-modernas e descoladas, estão sempre por cima. Cloe, Sasha, Jade, Yasmin e o novo BratzPack, Dana, comprovam mais uma vez que vestir-se bem significa sentir-se bem! Na maioria das vezes, os educadores tendem a reagir negativamente em relação ao mundo das bonecas de moda, pelo fato delas introduzirem as crianças prematuramente às narrativas sobre temas como a sexualidade, o consumo capitalista e a beleza feminina. Juliette
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