Os contos de Ferréz: das relações entre a nova literatura marginal e o rap
Carregando...
Data
2019-01-31
Autores
Bautz, Diego Kauê
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
Busca-se, neste trabalho, reconhecer proximidades estruturais e temáticas entre o conto de Ferréz e o rap nacional, rastreando possíveis influências do princípio ético característico das produções periféricas e do lugar de enunciação desses artistas para, finalmente, analisar as marcas de oralidade nos contos ferrezianos em suportes impressos e eletrônicos. Para que tais objetivos fossem alcançados, as reflexões de Bakhtin (1990) (2011) sobre as relações entre texto e contexto ajudaram a pensar as produções periféricas inseridas na nova literatura marginal e na cultura do hip-hop; as ideias de Cortázar (2006) acerca do conto colaboraram para avaliar a produtividade de recursos do rap nacional inseridos nesse gênero literário; e os estudos de Ong (1998) sobre a “psicodinâmica da oralidade” permitiram reconhecer e analisar as marcas do pensamento fundados na oralidade presentes nos textos analisados. Então, observando que os contos de Ferréz se aproximam temática e formalmente ao rap nacional pela utilização de rimas, repetições, reiterações e de um tom combativo para abordar problemas sociais do mesmo contexto, se compreendeu a semelhança entre as funções de um MC e do narrador ferreziano como cronistas participantes de uma disputa simbólica. Parece, no entanto, haver uma oscilação entre a subversão e a apropriação dos valores hegemônicos que se relaciona com a questão do princípio ético das produções periféricas confrontado pelas concepções estéticas mais tradicionais. Sendo assim, a valorização da palavra falada como uma espécie de arma, notada tanto nos raps quanto nos contos de Ferréz, indica uma concepção da palavra como elemento estratégico de fortalecimento do grupo e, portanto, a ideia de que uma escrita mais articulada ao coletivo e menos à voz de um artista criador seja mais eficiente neste contexto.
The aim of this work is to recognize structural and thematic proximities between Ferrez's tale and national rap, tracing possible influences of the ethical principle characteristic of the peripheral productions and the place of enunciation of these artists to finally analyze the marks of orality in the short stories printed and electronic media. For such goals to be achieved, Bakhtin's (1990) (2011) reflections on the relationships between text and context helped to think of peripheral productions embedded in the new marginal literature and hip-hop culture; Cortázar's (2006) ideas about the short story collaborated to evaluate the productivity of national rap resources inserted in this literary genre; and Ong's (1998) studies on the "psychodynamics of orality" allowed to recognize and analyze the orality-based marks of thought present in the texts analyzed. Then, observing that Ferréz's tales thematic and formally approximate national rap by the use of rhymes, repetitions, reiterations, and a combative tone to address social problems of the same context, we understood the similarity between the functions of an MC and the narrator ferreziano as chroniclers participating in a symbolic dispute. It seems, however, that there is an oscillation between subversion and appropriation of hegemonic values that are related to the question of the ethical principle of peripheral productions confronted by more traditional aesthetic conceptions. Thus, the valorization of the spoken word as a kind of weapon, noted both in the raps and in Ferréz's short stories, indicates a conception of the word as a strategic element for strengthening the group and, therefore, the idea that a more articulated writing to the collective and less to the voice of a creative artist is more efficient in this context.
The aim of this work is to recognize structural and thematic proximities between Ferrez's tale and national rap, tracing possible influences of the ethical principle characteristic of the peripheral productions and the place of enunciation of these artists to finally analyze the marks of orality in the short stories printed and electronic media. For such goals to be achieved, Bakhtin's (1990) (2011) reflections on the relationships between text and context helped to think of peripheral productions embedded in the new marginal literature and hip-hop culture; Cortázar's (2006) ideas about the short story collaborated to evaluate the productivity of national rap resources inserted in this literary genre; and Ong's (1998) studies on the "psychodynamics of orality" allowed to recognize and analyze the orality-based marks of thought present in the texts analyzed. Then, observing that Ferréz's tales thematic and formally approximate national rap by the use of rhymes, repetitions, reiterations, and a combative tone to address social problems of the same context, we understood the similarity between the functions of an MC and the narrator ferreziano as chroniclers participating in a symbolic dispute. It seems, however, that there is an oscillation between subversion and appropriation of hegemonic values that are related to the question of the ethical principle of peripheral productions confronted by more traditional aesthetic conceptions. Thus, the valorization of the spoken word as a kind of weapon, noted both in the raps and in Ferréz's short stories, indicates a conception of the word as a strategic element for strengthening the group and, therefore, the idea that a more articulated writing to the collective and less to the voice of a creative artist is more efficient in this context.
Descrição
Palavras-chave
Ferréz, Hip-Hop, Lugar de Enunciação, Conto, Oralidade