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Abstract(s)
Esta investigação busca compreender como a escritora ucraniana Svetlana Alexievich, vencedora do Prêmio Nobel de Literatura (2015), pelo conjunto de livros de não-ficção que produziu, constrói contra-frames (Chong & Druckman, 2007a, 2007b, 2011, 2012) para os frames dominantes associados a três macro-frames (Constantinescu & Tedesco, 2007) presentes na cultura soviética: a Grande Guerra Pátria, o Grande Império e o Homem Soviético. Trata-se de um enfoque contra-hegemónico (Correia, 2004b; Fairclough, 2001) em relação aos discursos sobre os acontecimentos relatados nos cinco livros da coletânea “Vozes da Utopia”: “A Guerra Não Tem Rosto de Mulher” (1985)”, “As Últimas Testemunhas: Cem Histórias sem Infância” (1985), “Rapazes de Zinco: a Geração Soviética Caída na Guerra do Afeganistão” (1989), “Vozes de Chernobyl: História de um Desastre Nuclear” (1997) e “O Fim do Homem Soviético: um Tempo de Desencanto” (2012). Buscamos enquadrar o suporte utilizado pela autora para tecer os contra-frames, construídos a partir de múltiplas perspetivas e de forma polifónica (Bakhtin, 2002, 2010), enquadrado, nesta tese, simultaneamente, como Jornalismo Literário (Kramer, 1995; Lima, 1993, 2004; Martinez, 2016, 2017) e Literatura Documental do tipo Testemunhal (Chillón, 1999, 2014). O “coro de vozes” coletadas pela autora tensiona a ordem vigente, por meio da revalorização de utopias (Mannheim, 1952; Ricoeur, 1986, 2007), configuradas por novas formas de pensar e sentir os acontecimentos registados e o próprio sentido do que é o socialismo na vida quotidiana das pessoas. Além do contexto histórico dos eventos tratados nos livros, buscamos evidenciar, a partir da Frame Analysis, um percurso histórico, epistemológico e metodológico desta teoria comunicacional, e selecionar conceitos operacionais úteis para a análise dedutiva empreendida, como as noções de macro-frame, frames dominante e genérico e contra-frame, com o suporte de metodologias auxiliares: a Análise de Conteúdo e a Análise Crítica do Discurso. Nosso propósito é evidenciar as relações de sentidos entre as variáveis identificadas, a partir de padrões discursivos de tensionamento de sentidos dominantes associados a cada um dos macro-frames, por meio da apresentação de frames genéricos, nomeadamente os de conflito (Smetko & Valkenburg, 2000), que trazem novas perspetivas para compreender os acontecimentos e posicionam as vozes das pessoas comuns no lugar de protagonistas de frames individuais, contrapostos a frames que, por tanto tempo, foram valorizados na cultura soviética. A obra da autora, apesar de não ser factual, tensiona as versões para os factos de que trata, por meio de novos sentidos, utopias e sentimentos dos que viveram as transformações sociais, económicas e políticas que culminaram com o fim da URSS, em 1991.
This investigation aims to understand how the Ukrainian writer Svetlana Alexievich, Literature Nobel Prize (2015) for her nonfiction books, built counter-frames (Chong & Druckman, 2007a, 2007b, 2011, 2012) for dominant frames associated with three macro-frames (Constantinescu & Tedesco, 2007) in Soviet culture: the Great Patriotic War, the Great Empire and the Soviet Man. We proposed in this thesis a counter- hegemonic approach (Correia, 2004b; Fairclough, 2001) in order to analyse discourses about the events mentioned in the book collection “Vozes da Utopia”: “The Unwomanly Face Of War” (1985)”, “The Last Witnesses: A Hundred Stories Without Childhood” (1985), “Zinc Boys: the Soviet Generation Fallen in the Afghan War” (1989), “Voices of Chernobyl: History of a Nuclear Disaster” (1997) and “The Second Hand Time”(2012). First of all, we frame the kind of device she had used to build the counter-frames, through multiple perspectives and polyphonies (Bakhtin, 2002, 2010), framing it as Literary Journalism (Kramer, 1995; Lima, 1993, 2004; Martinez, 2016 , 2017) and, simultaneously, Documental and Testimonial Prose (Chillón, 1999, 2014). The “chorus of voices” strains the current order, through the resignification of utopias (Mannheim, 1952; Ricoeur, 1986, 2007), configured by new ways of thinking and feeling the events narrated by the author and the meaning of socialism in people's daily lives. Besides the historical context of the events treated in her books, we intend to show, in the theoretical-methodological path, by Framing Analysis, a historical, epistemological and methodological approach, selecting useful operational concepts in a deductive analysis, such as the notions of macro-frame, dominant and generic frames and counter-frame, supported from auxiliary methodologies, such as Content Analysis and Critical Discourse Analysis. Our goal was to emphasize meanings relations between the identified variables, from discursive patterns of tension between dominant and peripherical frames associated with each of the macro-frames, through the presentation of generic frames, namely those of conflict (Smetko & Valkenburg, 2000 ), which bring new perspectives to understand the events and place the voices of ordinary people as protagonists of counter-frames as opposed to the dominant frames that have been valued in Soviet culture for so long time. Svetlana Alexievich's work, although is not factual, tensions the versions for the facts it deals with, through new meanings, utopias and feelings of those who lived through social, economic and political transformations that culminated in the end of the USSR, in 1991.
This investigation aims to understand how the Ukrainian writer Svetlana Alexievich, Literature Nobel Prize (2015) for her nonfiction books, built counter-frames (Chong & Druckman, 2007a, 2007b, 2011, 2012) for dominant frames associated with three macro-frames (Constantinescu & Tedesco, 2007) in Soviet culture: the Great Patriotic War, the Great Empire and the Soviet Man. We proposed in this thesis a counter- hegemonic approach (Correia, 2004b; Fairclough, 2001) in order to analyse discourses about the events mentioned in the book collection “Vozes da Utopia”: “The Unwomanly Face Of War” (1985)”, “The Last Witnesses: A Hundred Stories Without Childhood” (1985), “Zinc Boys: the Soviet Generation Fallen in the Afghan War” (1989), “Voices of Chernobyl: History of a Nuclear Disaster” (1997) and “The Second Hand Time”(2012). First of all, we frame the kind of device she had used to build the counter-frames, through multiple perspectives and polyphonies (Bakhtin, 2002, 2010), framing it as Literary Journalism (Kramer, 1995; Lima, 1993, 2004; Martinez, 2016 , 2017) and, simultaneously, Documental and Testimonial Prose (Chillón, 1999, 2014). The “chorus of voices” strains the current order, through the resignification of utopias (Mannheim, 1952; Ricoeur, 1986, 2007), configured by new ways of thinking and feeling the events narrated by the author and the meaning of socialism in people's daily lives. Besides the historical context of the events treated in her books, we intend to show, in the theoretical-methodological path, by Framing Analysis, a historical, epistemological and methodological approach, selecting useful operational concepts in a deductive analysis, such as the notions of macro-frame, dominant and generic frames and counter-frame, supported from auxiliary methodologies, such as Content Analysis and Critical Discourse Analysis. Our goal was to emphasize meanings relations between the identified variables, from discursive patterns of tension between dominant and peripherical frames associated with each of the macro-frames, through the presentation of generic frames, namely those of conflict (Smetko & Valkenburg, 2000 ), which bring new perspectives to understand the events and place the voices of ordinary people as protagonists of counter-frames as opposed to the dominant frames that have been valued in Soviet culture for so long time. Svetlana Alexievich's work, although is not factual, tensions the versions for the facts it deals with, through new meanings, utopias and feelings of those who lived through social, economic and political transformations that culminated in the end of the USSR, in 1991.
Description
Keywords
Svetlana Alexievich Jornalismo literário Polifonia Utopia Frame analysis Contra-frame