Focalizando paratextos na tira digital “Os Santos”: sentidos possíveis
Data
2021-12-14
Autores
Silva, Elisa Ribeiro da 
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
A evolução das tecnologias de informação e comunicação transformou o modo como os textos são veiculados e relacionados com outros e abriram novas possibilidades para a leitura e a construção de sentidos. Esse rápido avanço, tão pautado no elemento visual, assegurou um ambiente fértil para a distribuição, o armazenamento e a leitura de tiras, com a internet consolidada como meio de publicar e consumir conteúdo. Desse modo, há um crescimento constante de tiras em suportes digitais nas redes sociais, com diversas abordagens de análise desses textos. Nas tiras, assim como em outros gêneros, encontramos elementos paratextuais, compondo um conjunto de pré e pós-textos que margeiam um conteúdo tido como principal e transmitem alguma mensagem para o leitor. Portanto, a presença ou a ausência deles pode assumir um caráter relevante para a construção de sentidos. Na Linguística Textual brasileira, há uma tendência de excluir a noção de paratexto de seu escopo teórico. Por isso, a proposta desta pesquisa é defender justamente o contrário, rediscutindo o conceito de paratexto e a relevância dele entre tantos outros que são explorados por esse campo interdisciplinar. Assim, verificamos de que maneira os paratextos aparecem em tiras digitais e como as diferentes leituras podem influenciar na construção de sentidos. Para isso, nosso corpus de pesquisa é a série de tiras “Os Santos”, de Leandro Assis e Triscila Oliveira, veiculada nas redes sociais Instagram e Twitter. A nossa hipótese é que o conceito de paratexto assume outra abordagem quando o aplicamos em tiras digitais e que ele está atrelado analiticamente ao de focalização. Como pressupostos teóricos para sustentar este estudo, utilizamos a obra de Genette (2009) acerca dos elementos paratextuais, a definição de rede social de Recuero (2005; 2009; 2012), o conceito de ciberespaço de Lévy (1999), convergência de Jenkins (2008), cultura da conexão proposto por Jenkins, Ford e Green (2014), contexto de van Dijk (2012), hipertexto pensado por Elias (2005) e Elias e Cavalcante (2017), o estudo de Chinen (2019) sobre a representação das personagens negras nas histórias em quadrinhos, as pesquisas de Ramos (2009, 2012, 2013, 2014 e 2017) sobre a linguagem e os gêneros das histórias em quadrinhos, a definição de focalização defendida por Koch e Travaglia (2015) e os estudos sobre texto de Cavalcante e Custódio Filho (2010), Koch e Elias (2006), Elias (2016) e Marcuschi (2008). Como resultados, percebemos que, nos textos publicados em redes sociais, o que se considera paratexto está atrelado ao processo de focalização, reforçado pelo layout das plataformas e o comportamento dos usuários. Por isso, entendemos que a análise de paratextos não deve ficar restrita ao campo teórico da Literatura e nem aos textos em suportes físicos. Propomos também que a esse conceito se alie o de focalização, para que possamos determinar o que assume função paratextual em uma análise e o que atua como foco.
The evolution of information and communication technologies have transformed the way texts are conveyed, related to others, and opened new possibilities for reading and constructing meanings. This fast advancement, so based on the visual element, has ensured a fertile environment for the distribution, storage and reading of strips, with the internet consolidated as a means of publishing and consuming content. Thus, there is a constant growth of comic strips in digital media on social networks, with various possible approaches of analysis of these texts. In comic strips, as in other genres, we find paratextual elements that make up a set of pre- and post-texts that border a main content and convey some message to the reader. Therefore, their presence or absence may assume a relevant character for the construction of meanings. In Brazilian Textual Linguistics, there is a tendency to exclude the notion of paratext from its theoretical scope. Therefore, the proposal of this research is to defend just the opposite, re-discussing the concept of paratext and the relevance of this concept among many others that are explored by this interdisciplinary field. Thus, we verified how the paratexts appear in digital comic strips and how the different readings can influence the construction of meanings. For this, our research corpus is the series of strips "Os Santos", by Leandro Assis and Triscila Oliveira, broadcasted on the social networks Instagram and Twitter. Our hypothesis is that the concept of paratext takes on another approach when we apply it to digital comic strips and that it is analytically linked to the focalization. As theoretical assumptions to support this study, we use Genette's (2009) work about paratextual elements, Recuero's (2005; 2009; 2012) definition of social networks, Lévy's (1999) concept of cyberspace, Jenkins' (2008) convergence, connection culture proposed by Jenkins, Ford, and Green (2014), van Dijk's (2012) context, hypertext thought by Elias (2005) and Elias and Cavalcante (2017), Chinen's (2019) study on the representation of black characters in comics, the research by Ramos (2009, 2012, 2013, 2014, and 2017) on the language and genres of comics, the definition of focalization advocated by Koch and Travaglia (2015), and the studies on text by Cavalcante and Custódio Filho (2010), Koch and Elias (2006), Elias (2016) and Marcuschi (2008). As a result, we realize that, in texts published on social networks, what is considered paratext is tied to the process of focusing, enhanced by layout of the platforms and the behavior of users. Therefore, we understand that the analysis of paratexts should not be restricted to the theoretical field of literature or to texts in physical media. We also propose that this concept be combined with that of focus so that we can determine what assumes paratextual function in an analysis and what acts as focus.
The evolution of information and communication technologies have transformed the way texts are conveyed, related to others, and opened new possibilities for reading and constructing meanings. This fast advancement, so based on the visual element, has ensured a fertile environment for the distribution, storage and reading of strips, with the internet consolidated as a means of publishing and consuming content. Thus, there is a constant growth of comic strips in digital media on social networks, with various possible approaches of analysis of these texts. In comic strips, as in other genres, we find paratextual elements that make up a set of pre- and post-texts that border a main content and convey some message to the reader. Therefore, their presence or absence may assume a relevant character for the construction of meanings. In Brazilian Textual Linguistics, there is a tendency to exclude the notion of paratext from its theoretical scope. Therefore, the proposal of this research is to defend just the opposite, re-discussing the concept of paratext and the relevance of this concept among many others that are explored by this interdisciplinary field. Thus, we verified how the paratexts appear in digital comic strips and how the different readings can influence the construction of meanings. For this, our research corpus is the series of strips "Os Santos", by Leandro Assis and Triscila Oliveira, broadcasted on the social networks Instagram and Twitter. Our hypothesis is that the concept of paratext takes on another approach when we apply it to digital comic strips and that it is analytically linked to the focalization. As theoretical assumptions to support this study, we use Genette's (2009) work about paratextual elements, Recuero's (2005; 2009; 2012) definition of social networks, Lévy's (1999) concept of cyberspace, Jenkins' (2008) convergence, connection culture proposed by Jenkins, Ford, and Green (2014), van Dijk's (2012) context, hypertext thought by Elias (2005) and Elias and Cavalcante (2017), Chinen's (2019) study on the representation of black characters in comics, the research by Ramos (2009, 2012, 2013, 2014, and 2017) on the language and genres of comics, the definition of focalization advocated by Koch and Travaglia (2015), and the studies on text by Cavalcante and Custódio Filho (2010), Koch and Elias (2006), Elias (2016) and Marcuschi (2008). As a result, we realize that, in texts published on social networks, what is considered paratext is tied to the process of focusing, enhanced by layout of the platforms and the behavior of users. Therefore, we understand that the analysis of paratexts should not be restricted to the theoretical field of literature or to texts in physical media. We also propose that this concept be combined with that of focus so that we can determine what assumes paratextual function in an analysis and what acts as focus.
Descrição
Citação
Silva, Elisa Ribeiro da. Focalizando paratextos na tira digital “Os Santos”: sentidos possíveis. 2022. Dissertação (Mestrado em Letras). 108 f. Programa de Pós-Graduação em Letras, Universidade Federal de São Paulo, Guarulhos, 2022.