O feminino em multissemioses: os discursos da e sobre a mulher no funk brasileiro.

Abstract

Funk occupies, in the Brazilian musical scene, a space of prejudice and marginalization, since it has in its origin poor communities of Carioca hills. However, over the years, funk expands its domains and is heard in all regions of Brazil. However, Amorim (2009) points out that this dissemination of funk does not end the biased view about gender in Brazil, which is still characterized by association with drug trafficking and vulgarization of the female image. In addition, when we observe the audiovisual productions of funk, we perceive a high incidence of children and young people interacting with these productions, seeking, in some way, representation and identification. Thus, when we reflect on the discursive space of women in the productions referred to, and the scope of this audiovisual language for the language education of children and young people who interact directly with these productions, we come to the following questions: 1) What languages about women are disseminated in productions of Brazilian funkeiros and funkeiras? In order to answer these questions, we aim, in general, to investigate the multiple languages about women in funk productions of national funkeiros and funkeiras. Specifically, we seek to: a) Identify the multiple languages about women in the musical genre referred to. b) Investigate the discourses and their effects on the production of meanings about women in Brazilian funk. c) analyze the receptions of these multiple languages for a language education of the user in times of social networks. We believe that the reflections about funk are relevant, since the genre gains more and more space in Brazil, often merging with other popular rhythms, and thus reaching larger and more diverse groups. In order to develop our study, we will present a brief history of the New Literacy Studies (GEE, 2006, LANKSHEAR, KNOBEL, 2006, STREET 1984, 1995, 2003) and multisemiology and multiletrations (Van Leeuwen, 1996, KRESS, 1989; KOCH, 2000, RED, 2012). Then, we will present considerations about the discursive formations and the subject in the discourse (ORLANDI, 1988, 2012, ORLANDI; GUIMARÃES, 1993; PÊCHEUX, 1988). Finally, In we developed a historical contextualization of the musical genre we selected, the Brazilian funk. In this chapter, we also discuss the issues related to the discursive space that women occupy in today's funk (AMORIM, 2009; HÉRITIER, 1996; YÚDICE, 2004). Our research is configured as a documentary type, and of a qualitative nature, since, in our methodological development, we selected 10 funk productions - taken from the site letras.mus.com.br - with the following highlight: five of these productions are written and interpreted by men, while the other five are written and interpreted by women. In addition, we selected 5 comments regarding each production in order to meet the third specific object. To what we perceive, the discourse found in the songs produced by men is sexist, attributing to women a position of sexual subservience. In the women's discourse we perceive different aspects, such as aggressiveness, but also one aspect in common: the reproduction of macho behavior. However, we emphasize a production that presents a discourse of empowerment and feminine force.