Banca de QUALIFICAÇÃO: LAEIGUEA BEZERRA DE SOUZA

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
STUDENT : LAEIGUEA BEZERRA DE SOUZA
DATE: 02/02/2023
LOCAL: https://meet.google.com/xge-asan-qaz
TITLE:

“SUXTENTA, DONA MARIA!”: CULTURE, ART AND PAJEUZEIRA RESISTANCE IN THE VOICE OF JÉSSICA CAITANO

KEY WORDS:

Hinterland. Art. Discursive Formation. Resistance.

PAGES: 45
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUMMARY:

This research is the result of inquiries, as a countryside woman, cultural producer
and educator, about the stereotypes associated with the hinterland and what it is to
be a countryside. I demarcate Pernambuco's Sertão do Alto Pajeú as a reference for
what we propose here. It was in my experiences in the region in dialogue with the
coast that I began to be bothered by comments that did not correspond to the space
that formed me. On the other hand, I began to identify with the lines in the
compositions of the artist from Triunfo – PE, Jéssica Caitano. She is an art-educator,
composer, singer, repentist, lesbian, black-indigenous woman, with a dissident body
that lives in an urban quilombo. Within all this formation, due to her compositions, I
believe that she proposes a complementary relationship between the so-called
“traditional” and “modern” hinterlands, which have always been treated as
antagonistic and translated through a unique discursive formation. In this sense, the
objective is to understand the gestures of authorship that characterize the work of
Jéssica Caitano and her movements of appropriation-rupture of the imaginary about

the hinterland that point to other forms of identification of the subjects with this space.
To achieve this goal, I intend to: Understand the imaginary about the traditional
hinterland and the possibility of treating these discourses as part of a Discursive
Formation about the hinterland; Understand from what position these subjects who
say the traditional hinterland enunciate and their ways of saying the countryside as
the other; Observe and understand how the traditional hinterland appears in Jéssica
Caetano's compositions and what displacements are produced about the hinterland
and the countrysides in her songs; Understand the gestures of authorship and
resistance that are produced through his poetry-performance in relation to the ways
of understanding the hinterland and the countryside. The theoretical basis starts from
the Pecheuxtian Discourse Analysis in the notions of imaginary and memory and
theorization about formations - Discursive Formation (FOUCAULT, 1987), ideological
formation (PÊCHEUX; FUCHS 1997) and position taking (FOUCAULT, 1987;
PÊCHEUX, 1995; 1997; 1999; 2006). As for the concept of resistance, the initial
reading of De Nardi and Nascimento (2016) points to the need to deepen the theme,
especially with Orlandi (2017). Considering the importance that the issue of
authorship can assume in our investigation, we will then seek to understand the
relationship between gestures of interpretation and authorship in the artist's
production (Orlandi, 2007; 2009). From the nature of Jessica's artistic discourse, we
will dialogue with what, in Discourse Analysis, has been produced on the notions of
art and culture, especially from the contributions of Neckel (2004; 2005). Also
considering the composer's dissidence and the themes of her productions, it is
necessary to discuss the concept of decoloniality with Maria Lugones (2014) and
Ochy Curiel (2019). In identifying the elements that make up the views on the
Hinterland (or Hinterlands), we will use Castro (1984) and Albuquerque Júnior
(2011), Cascudo (2005), Neto (2016), Tavares (2016) and Costa (2007) as a basis. It
is a research that goes beyond the limits of the academy and brings to the center
bodies, histories and artistic productions that, historically, were made invisible.

COMMITTEE MEMBERS:
Presidente - 1726965 - FABIELE STOCKMANS DE NARDI SOTTILI
Interna - 1667608 - EVANDRA GRIGOLETTO
Externo à Instituição - NADIA NECKEL - UNISUL/SC