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A Produção (Inter)Subjetiva De Objetos De Discurso No Universo Dos Graffitis E a Recriação Da Realidade

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A Produção (Inter)Subjetiva De Objetos De Discurso No Universo Dos Graffitis E a Recriação Da Realidade UNIVERSIDADE ESTADUAL DO CEARÁ CENTRO DE HUMANIDADES PROGRAMA DE PÓS-GRADUAÇÃO EM LINGUÍSTICA APLICADA FRANCISCA POLIANE LIMA DE OLIVEIRA RECATEGORIZAÇÃO PARA ALÉM DOS MUROS: A PRODUÇÃO (INTER)SUBJETIVA DE OBJETOS DE DISCURSO NO UNIVERSO DOS GRAFFITIS E A RECRIAÇÃO DA REALIDADE. FORTALEZA – CEARÁ 2017 FRANCISCA POLIANE LIMA DE OLIVEIRA RECATEGORIZAÇÃO PARA ALÉM DOS MUROS: A PRODUÇÃO (INTER)SUBJETIVA DE OBJETOS DE DISCURSO NO UNIVERSO DOS GRAFFITIS E A RECRIAÇÃO DA REALIDADE. Tese apresentada ao Programa de Pós- Graduação em Linguística Aplicada, do Centro de Humanidades, da Universidade Estadual do Ceará, como requisito parcial para obtenção do título de doutora em Linguística Aplicada. Área de concentração: Linguagem e Interação. Orientadora: Profª. Drª. Maria Helenice Araújo Costa. FORTALEZA – CEARÁ 2017 Às minhas mães, Francisca e Helenice. AGRADECIMENTOS Minha eterna gratidão: À Helenice, minha mãe-amiga acadêmica, por ser a “mansão da paciência” comigo, por me ensinar, antes de mais nada, o que é amar primeiro ao próximo e depois a si mesmo; À minha mãe, Francisca, por ser tudo e mais um pouco, incondicionalmente, ainda que as diferenças se acentuem de vez em quando; Aos meus irmãos, Paulo e Pate, por uma vida inteira compartilhada; Ao meu “siribim”, Marcos Paulo, por ser o que é para mim, um amor; Ao meu cunhado por ser riso, força e amor para minha irmã; Ao meu companheiro e amigo de todas as horas, Zé, por ser força, sustento, alento, amor e fé; Aos meus amigos-irmãos, Emanoel e Eduardo, por serem mais do que eu pedi a Deus, amor e fé; À minha amiga Tici, por ser guerreira e me mostrar como se faz uma caminhada com alegria e simpatia, haja o que houver; Às minhas amigas, Alana e Andreza, por serem alegria e bondade; Aos meus revisores, Andreza e Eleildo, que gentilmente se dispuseram a tornar as ideias mais fáceis de serem lidas; Ao padrinho, Thyagão, por me emprestar uns graffitis e uns grafiteiros; Aos grafiteiros, Abu, Grud e Emol, por suas enormes bondades e por me aceitarem em seu nicho, me incentivarem, me encherem de coragem e de criatividade; Aos interlocutores, Margot, Wendel, Rodrigo, Camila, Yuri e Paula por suas contribuições impregnadas de sensibilidade e de singularidade; À FUNCAP, por viabilizar esse sonho; Ao professor Wilson, por ser incentivo; À Jamille, por ser paciência, compreensão e pensamento positivo; Aos meus professores e professoras; Às bancas examinadoras que participaram atentamente da construção dessa tese; A Nossa Senhora; A Deus. “Imagine uma cidade em que o grafite (sic) não é ilegal, uma cidade em que qualquer um pode desenhar onde quiser. Onde cada rua seja inundada de milhões de cores e frases curtas. Onde esperar no ponto de ônibus não seja uma coisa chata. Uma cidade que pareça uma festa para a qual todos foram convidados, não apenas as autoridades e os figurões dos grandes empreendimentos. Imagine uma cidade como essa e não encoste na parede – a tinta está fresca”. (BANKSY) RESUMO Ao olhar para a trajetória histórica do graffiti, percebemos que, apesar de essa atividade ter sido, no início, entendida como consequência de atos de vandalismo, a atual experiência cotidiana mostra que os graffitis devem ser considerados para além da concepção marginalizada com que foram vistos por muito tempo e em muitos lugares. Assim nos propomos a observar e a analisar o fenômeno de recategorização na produção (inter)subjetiva de objetos de discurso na produção de graffitis e defender um estatuto de texto para essa produção. Desse modo, tomamos de Beaugrande (1997) uma importante consideração acerca da natureza das produções linguageiras, segundo a qual texto é evento; além desse autor, Hanks (2008), Marcuschi (2007, 2008) e Franco (2011) nos servem de base para melhor posicionarmo-nos nesse campo. Partindo dessa premissa, aliamo-nos às discussões sobre referenciação com Mondada e Dubois (1995), Araújo (2004), Salomão (1999, 2005) e Cardoso (2003). A recategorização, por sua vez, participa de nossa pesquisa com a missão de auxiliar-nos a esclarecer a respeito da construção e da co-construção dos objetos discursivos no graffiti e, para tanto, consideramos os estudos de Leite (2007), Costa (2007a, 2007b), Ciulla e Silva (2008) e Jaguaribe (2007). Além disso, propomos ainda a atualização desse conceito com o auxílio de nossa pesquisa anterior Oliveira (2012). Além dessas pesquisas, os estudos de Maturana (2001) e Cain (2010) nos habilitam a falar cognitivamente sobre o processo de produção de textos. Dessa maneira, para observar como ocorrem os processos de criação e recepção, como são recategorizados os objetos de discurso e como a realidade é transformada a partir da construção de sentidos, escolhemos a observação participante como método de pesquisa; as notas de campo, a entrevista, o roteiro de leitura, o registro fotográfico e as gravações como instrumentos que nos fornecessem dados com os quais pudéssemos trabalhar. Os resultados revelaram que o processo de produção dos graffitis acontece multilinearmente, levando em conta o projeto de dizer do grafiteiro, as condições de materialização desse projeto e a interação acidental com os interlocutores no decorrer e após a produção. Assim, concluímos que o conceito de texto como evento parece-nos amplo e complexo o suficiente para abarcar as atuais formas de comunicar e que, nessa perspectiva, o graffiti pode ser considerado um texto. Palavras-chave: Texto como evento. Graffiti. Recategorização. Referenciação. ABSTRACT Looking at the historical trajectory of graffiti, we realize that, although such activity was, at first, mistaken for tagging or understood as a result of vandalism, the current daily experience shows that graffiti should be considered far beyond its aesthetic character. Thus, we propose to observe and analyze the phenomenon of recategorization in the (inter)subjective production of discourse objects in the production of graffiti, and defend a statute for such production. Taking, thereby, from Beaugrande (1997) an important consideration about the nature of language production, according to which, text is an event; In addition to this author, Hanks (2008), Marcuschi (2007, 2008) and Franco (2011) will serve us as the basis for a better placement in this field. Starting from that premise, we partner with discussions about referencing with Mondada and Dubois (1995), Araújo (2004), Salomão (1999, 2005) and Cardoso (2003). Recategorization, in turn, participate in our research with the mission of helping us to clarify subjects regarding the construction and co-construction of discursive objects in graffiti and, to this end, we consider studies from Leite (2007), Costa (2007a, 2007b), Ciulla (2008) and Jaguaribe (2007). To accomplish that, we also propose the update of the concept with the help of our previous research Oliveira (2012). Beyond these researches, studies from Maturana (2001) and Cain (2010) enable us to cognitively talk about the process of text production. In this way, to observe how the processes of creation and reception take place, how discourse objects are recategorized, and how reality is transformed out of the construction of meaning, we chose a participant observation as the research method; the field notes, interviews, the script of reading, the photographic and phonographic recordings as instruments to provide data on which we could work. Partial results revealed that the production process of graffiti happens multi-linearly, taking into account the project of speaking of the graffiti writer, the conditions for the materialization of such project and the accidental interaction with interlocutors during and after production. We, therefore, conclude that the concept of text as event seems to be consistent with the current ways of communicating and that, from this standpoint, graffiti can be considered a text. Keywords: Text as event. Graffiti. Recategorization. Referencing. RESUMÉ Lorsque l'on regarde la trajectoire historique du graffiti, nous percevons que, en dépit de cette activité avait été, au début, entendu comme conséquence d’actes de vandalisme, mais dans l’actuelle expérience du quotidien révèle que les graffitis doivent être considérés au-delà de son caractère esthétique. Ainsi, nous proposons d'observer et d'analyser la recatégorisation dans la production (inter) subjectif des objets de discours dans la production de graffitis et de défendre un statut de texte pour cette production. Alors, nous prenons de Beaugrande (1997) une considération importante sur la nature des productions linguagières, selon lequel le texte est l'événement; au-delà de cet auteur, Hanks (2008), Marcuschi (2007, 2008) et Franco (2011) nous servent de la base pour mieux nous positionner dans ce domaine. À partir de cette prémisse, nous nous allions à la discussion sur la référenciation avec Mondada et Dubois (1995), Araújo (2004), Salomão (1999, 2005) et Cardoso (2003). La recatégorisation, à son tour, participe à notre recherche d'une mission pour nous aider à clarifier au sujet de la construction et de la co-construction des objets discursifs en graffiti et, pour ça, nous considérons les études de Leite (2007), Costa (2007a, 2007b), Ciulla (2008) et Jaguaribe (2007). De plus, nous proposons de mettre à jour ce concept avec l'aide de notre recherche précédente Oliveira (2012). Au-delà de ces recherches, les études de Maturana (2001) et Cain (2010) nous permettent de parler cognitivement sur le processus de production de textes. Ainsi, pour observer comment se passe de processus de création et de réception, comment sont recatégorisés des objets de discours et comment la réalité se transforme à partir de la construction du sens, nous avons choisi l'observation participante comme une méthode de recherche; les notes du champ de recherche, l’interview, la lecture du script, la photographie et l'enregistrement comme un moyen de nous fournir les données dont nous pourrions travailler. Les résultats ont révélé que le processus de production des graffitis se produit de forme multilinéaire, en tenant compte du projet dit que les personnes qui pratiquent le graffiti, la matérialisation de ces conditions de ce projet et l'interaction accidentelle avec les interlocuteurs pendant et après la production.
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