Literatura Surda e Mídias Sociais: Uma análise da poesia e da Arte Visual Vernacular de Fábio de Sá

Abstract

From the debates generated within Cultural Studies and Deaf Studies, we present an investigation based on the cultural productions of deaf subjects, especially literature as a poetic manifesto, registered by alternative means of circulation fomented by the use of technology. The guiding thought refers to the circulation spaces of literature in sign language with regard to self-productions in the cultural market, followed by other themes related to: How is the deaf community represented in sign poetry? Who are the highlighted deaf literature producers in contemporaneity? Who is the readership? Which circulation alternatives are used by this peripheral literature? Based on this information, this work aims to describe and analyze the poetic production of the deaf author Fábio de Sá regarding the creation procedures, circulation and consumption of these cultural objects in contemporaneity. Therefore, this investigation is justified by the importance of promoting the visibility of deaf authors when producing literature, foreshowing the expansion in the cultural circuit through the cultural engagement of these authors considered peripheral in relation to the publishing market. The theoretical basis is attributed to the concepts mentioned by Stuart Hall (1997), Compagnon (1999), Candido (2000), Quadros & Sutton-Spence (2006), Strobel (2008), Garramuño (2014), Sutton-Spence (2021) among others. The material that supports this investigation corresponds to the poetic videos made available by the author Fábio de Sá on his virtual platforms Instagram, Youtube and Facebook from 2015 to 2020, alternatively, in data collected in interviews about the work of self-production in sign language. As a result, we found that Instagram social media has the largest number of poetic productions available, making a total of 72 works within Poetry and Visual Vernacular. Second, the virtual platform Youtube, composed of 20 works, and third, the social media Facebook, with 23 published works, only 4 of which are unpublished on this platform. We found that the aesthetics of his productions are built through image descriptions (DI) that enphasize the visual mode, appropriating the body as a support to materialize their art and promote a sensitive experience in the reader regarding what he sees, in addition to the linguistic resources provided by the richness of sign language. Thus, we find that the displacement promoted by this literature seeks literary expansion into new social spaces, once their voices, that scream in their artistic bodies, are already legitimized as art by their own community.