http://repositorio.ufc.br/handle/riufc/21666 Thu, 18 Jun 2026 02:46:01 GMT 2026-06-18T02:46:01Z http://repositorio.ufc.br/handle/riufc/85980 Título: Da música ao silêncio: identitarismo prescritivo e a vigilância da representação em Emilia Pérez Autor(es): Peixoto, Marcio Silva Abstract: This research investigates the symbolic, political, and discursive disputes that emerged around the film Emilia Pérez (2024), directed by Jacques Audiard, analyzing how the work was quickly placed at the center of controversies over representation, identity, and cultural legitimacy, being labeled by parts of digital criticism and activist journalism as a "transphobic," "xenophobic," and "racist" work. Instead of taking such accusations as an interpretive starting point, this study proposes to understand them as symptoms of a contemporary reception regime marked by normative identity expectations and moral surveillance, which traverse the cultural field and reorganize the criteria of art legibility. To understand this phenomenon, I developed the concept of prescriptive identitarianism (FRASER, 1995, 2000; BROWN, 1995; HAIDER, 2018; RANCIÈRE, 2009; MONDZAIN, 2013, 2017) as a theoretical-methodological operator intended to describe the set of normative expectations that regulate who can narrate the stories of marginalized subjects (SPIVAK, 2010), which affects are considered legitimate, and which representations are authorized as politically acceptable within contemporary cultural debate. Next, I employ a mixed methodology in the process of analyzing the research corpus: 1. I use a critical-discursive approach supported by the method of critical narrative analysis (MOTTA, 2013), combined with the framing of the linguistic resource of irony as an operator of interpretive communities (HUTCHEON, 2000) and the model of interactional participation (GOFFMAN, 1986), allowing mapping of address mechanisms, symbolic belonging, and production of interpretive consensus; and 2. I make use of diagrams as an analytical resource derived from information design. (BONSIEPE, 2011; WARE, 2012; TUFTE, 2007), allowing the visualization of evaluative and semantic patterns in the analyzed content. The analysis of the five international reviews included in the research corpus (Autostraddle, THEM, CBC Arts, The Pink News, and El País) reveals rhetorical and affective convergences that support the public canceling process of the film, understood here as a media practice inserted in a contemporary moral economy (MISKOLCI, 2025) and articulated with the dynamics of the new digital public space (BOSCO, 2017). The Emilia Pérez case thus emerges as a paradigm for understanding new forms of symbolic policing that affect artistic works addressing social minorities, revealing a contemporary crisis of perception (MONDZAIN, 2013), in which aesthetic ambiguity and dissent tend to be subordinated to moral regimes of visibility and identity correction. Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85980 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85923 Título: Ontopolítica no audiovisual queer brasileiro: uma cartografia do discurso minoritário drag Autor(es): Zapata, Maximiliano Oscar Abstract: This research aims to investigate the processes of mediatization and cultural interaction of trans and non-binary people through studies in media, gender, and philosophy. It is grounded in reflections on gender, media, and ontopolitical processes, proposing a cartography that includes interactive experimentation on social networks using profiles of trans and non-binary people, especially on TikTok. The method employed is based on the Deleuze–Guattarian rhizomatic model, a method characterized by the absence of centrality and by permanent openness in the process, enabling the construction of a cartography. As an additional methodological procedure, discourse analysis drawing on Michel Foucault is also used. The research is based on the assumption that digital platforms, especially TikTok, have opened up an interactive space for minority expressions, including those of LGBTQIA+ culture, enabling the welcoming of divergent patterns at the level of gender, ideas, and behaviors. The cultural diversity mediatized on social networks raises relevant questions for thinking about the current paradigm of communication and audiovisual media, as well as for processes of identity construction and social inclusion. The underlying question that guided this research and stimulated the cartographic process, albeit rhetorical, is: “who are todes and what are the ontopolitical implications of their process of identity and existential affirmation?” Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85923 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85461 Título: Maternidades conectadas: interações sociais e práticas de consumo em grupo de mães no WhatsApp Autor(es): Aragão, Fernanda Bôto Paz Abstract: This study aimed to understand how female interactive dynamics and consumption practices unfold within an online maternal group and how they articulate with cultural values of motherhood. To this end, we conducted an online ethnography in a maternal WhatsApp group over one year and three months, combining participant observation with interviews with group members and the administrator. The theoretical discussion sought to identify and interpret socially constructed maternal symbolisms, (re)produced through media and articulated with sociocultural, economic, political, and sociotechnical contexts. In this scenario, the proliferation of maternal voices on the internet emerges as a catalyst for questioning women’s own participation in shaping cultural values of motherhood. We also discuss transformations in maternal communities resulting from technological and cultural shifts, considering the culture of technology use and a contemporary turn driven, above all, by the platformization of everyday life. As a cross cutting theme in the research locus, consumption in motherhood is elucidated as a process with multiple stages that occur before, after, and even independently of the act of buying, extending to use, disposal, and the resignification of products and services. We examine the production and circulation of meanings attributed to goods and services aimed at mothers, and we identify an online circuit of social interaction and maternal consumption. To describe and interpret the ethnographic records, we present the features and modes of maternal interactive dynamics in the WhatsApp mothers’ group, followed by a discussion of women’s subjectivities related to motherhood, connections with other women, and consumption practices as perceived in the online community. Field immersion revealed updated forms of maternal aggregation in which care experiences and consumption intertwine and are shared by female associations that appear to be established exclusively online. The community studied functions as a haven to validate the “truthfulness” of information about motherhood circulating in the media; to foster belonging; to alleviate loneliness; to learn; and even to develop authority through the combination of knowledge from the mothers’ own perspectives. Finally, the cultural values of motherhood observed in the group are in transformation, moving between continuities and updates in how women experience motherhood. At times challenging certain patriarchal cultural values, at times reinforcing patterns of domination directed at women, thus assuming a range of symbolic possibilities whose reduction to extremes would be inadequate. Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85461 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85394 Título: Ficção científica como procedimento de resposta à cisnorma: terranos, alienígenas e seres ctônicos Autor(es): Prado, Noá Araújo Abstract: This doctoral thesis investigates science fiction as a proce- dure of response to cisnormativity, colonialism, and dominant ontoepistemic rationali- ties, through the creation of alien and chthonic beings that operate as agents of thought and writing. Among them, the terranos— subterranean and symbiotic entities—are acti- vated as speculative operators capable of intervening in modes of existence and regimes of representation. From their presence, the research proposes an embodied, fabulatory, and contaminated form of writing that does not illustrate concepts but thinks with cha- racters, through non-normative bodies and languages that destabilize the boundaries between theory and fiction. The methodology employed is deliberately alien: a writing protocol that blends essay, fiction, manifesto, and screenplay, refusing the traditional academic linearity. It is a practice of thought embodied in voices, images, and deviant narratives, in which writing itself becomes a body in transmutation. In this context, ali- ens do not appear as figures exterior to the human, but as poetic technologies that re- configure the very notions of reality, time, language, and identity. The thesis engages with authors such as Donna Haraway, Denise Ferreira da Silva, Castiel Vitorino Brasi- leiro, and Jota Mombaça, activating their thought not as citation, but as contagion. More than representing or explaining the world, this research experiments with ways of writing it from within its cracks, openings, and multiplicities—affirming delirium as me- thod, the body as language, and fiction as a tool for the creation of inhabitable worlds. Tipo: Tese Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85394 2025-01-01T00:00:00Z