Um estudo da visual vernacular (vv): cultura e literatura surda em diálogo com a estética da recepção.

Abstract

The Visual Vernacular (VV) emerged as a form of performance art that uses elements of sign language (SL) and mime theatrical technique, but is something different from both. Regarding VV, its location in the literature has the deserved representation in the theoretical frameworks that support the discussions about aesthetics in Deaf Literature (SUTTON-SPENCE; KANEKO, 2016; SUTTON-SPENCE, 2021; BAUMAN, 2006; BRANDWIJK, 2018). This form of deaf art and literature is our object of study that results in this master's thesis. We propose, as a general objective, to investigate SV and its reception by deaf people. To achieve this, our specific objectives were: 1) researching SV to understand its links with Deaf Literature; 2) describe its constitutive aspects, aesthetic patterns, from a comparison between the bibliographical study that underpins this dissertation and the corpora generated by deaf artists and their works, and our collaborating subjects; 3) record and analyze the reception of deaf people to works in VV, having as a guide the aesthetics of reception applied to literary criticism and deaf cultural studies. The research is characterized as an exploratory study (YIN, 2005; GIL, 2008 and 2010; BARDIN, 2011) about the phenomenon of Visual Vernacular in Deaf Literature and the reception of video works in VV by deaf people. As methodological procedures we: (a) gathered information about the origin of the term and conceptualization of SV, from its context of creation (MARCEAU, 1978); (b) we characterize, conceptualize and theorize about bibliographic and videographic sources about SV in its cultural and literary aspects; (c) we performed a reader analysis of video works of Deaf Literature that were significant to represent the literary use of SV in productions by international and national authors; (d) we conducted semi-structured interviews and presented the four video-works analyzed by us to three groups of deaf people, academics in the area of Languages/Libras, nonacademics who work as art artists and without higher education, and deaf people who are not academics nor artists to study and understand the reception of these works by these collaborators. Data analysis is guided by the theoretical framework of Aesthetics of Reception and the role of the reader (JAUSS, 1994; ISER, 1996), Literary Criticism (IMBERT, 1971) and Deaf Literature and Culture Studies (VALLI, 1993; MOURÃO, 2016; SUTTON-SPENCE AND KANEKO, 2016, among others). The results point to the understanding that VV is characterized as a form of artistic expression of technical performance of theatrical art, whose relationship with Literature in sign language is revealed by the aesthetics of reception as a variable, depending on the junction between theoretical training and experience of contact with the artistic environment (visual/theatrical) of the deaf community, which also leads us to conclude that it is of paramount importance for the understanding of artistic-literary phenomena in sign language the inclusion of VV as a theme of professional training of sign language teachers and translators/interpreters in the educational field, especially in areas such as Letters, Deaf Literature and Sign Language Literature and Literature in Libras, to which we direct our efforts with the intention of promoting in such sectors an expansion of studies of Visual Vernacular based on the aesthetics of reception and an ever-updated look at performing artistic production in Sign Language