Análise dialógica do discurso do slam sinalizado "O Surdo tem Mãos, o Surdo tem Voz", de Kizy Poesia: uma articulação com os Estudos Surdos

Abstract

Language is conceived as a social practice constituted by historical, cultural, and ideological dimensions that contribute to the constitution of subjects and their ways of producing discourse. This perspective is directly associated with the writings of Bakhtin and the Circle, in which discourse is understood as an essentially dialogic phenomenon, marked by the interaction among different social voices and by the historicity of utterances. Based on this understanding, this thesis analyzes the utterances produced by the Deaf slammer Tamara Silva, also known as Kizy Poeta, in performances recorded on video and made available on YouTube. These productions address issues related to Deaf culture, the intersectional experience of being a Deaf woman, and the struggles for the recognition of her visual-gestural language and social belonging. Accordingly, the study is guided by the following research question: How are the utterances produced by the Deaf slammer Tamara Silva/Kizy Poeta constituted in video- recorded performances? The study assumes that her utterances are intrinsically connected to the historical and cultural issues underlying the constitution of Deaf identity, as well as to the social struggles and contexts of resistance experienced by the Deaf community over time. Its general objective is to analyze the utterances produced by Tamara Silva/Kizy Poeta in video-recorded performances. More specifically, the study seeks to identify the dialogic relations that constitute the intersection between Deaf cultural identity and womanhood; describe the discursive strategies employed in the Deaf slammer’s performances; and interpret the meanings constructed through her utterances, considering their socio-historical, cultural, and aesthetic dimensions. Her artistic production functions as a discourse of resistance by affirming Deaf cultural identity and legitimizing her position as a woman, with sign language serving as the primary means of expression, recognition, and cultural validation. The relevance of this investigation lies in its potential to expand discourse studies concerned with the cultural productions of Deaf subjects. By analyzing Tamara Silva/Kizy Poeta’s slam performances, this study also seeks to contribute to the recognition and appreciation of the Deaf community’s artistic productions as legitimate cultural, aesthetic, and political practices. Methodologically, this is a qualitative, exploratory study based on documentary research. The corpus comprises three video-recorded performances available on a digital platform: the artist’s self-introduction, her explanation of the thematic choice underlying the slam poem Feminismo Surdo [Deaf Feminism], and the performance of Feminismo Surdo itself. The analysis is grounded in Bakhtin and the Circle’s dialogic discourse analysis, which considers utterances to emerge from the historical, social, and cultural processes that shape subjects and constitute their modes of enunciation. The writings of Bakhtin and the Circle also provide the main theoretical framework for the thesis. The findings indicate that Tamara Silva/Kizy Poeta’s utterances constitute a discourse of resistance and struggle for the cultural recognition of Deaf identity and the legitimization of her position as a woman. Sign language is mobilized as the primary means of cultural and discursive validation.