Mash-ups literários: uma análise das representações discursivas do novo autor/novo leitor brasileiro contemporâneo

Abstract

In this work we seek to observe the discursive representations of contemporary reading practices. In view of the technological changes that have been presenting since the end of the 20th century, which configure what has been called digital culture, we seek to observe the impact of the strength of this culture on contemporary writing and reading practices. To this end, we define as an object of analysis the literary mashups, which are the result of a culture of the mix of today's own mix. This practice of mashup, quite common in relation to other artistic languages, such as music, has developed in relation to texts, and presents itself as an interesting change in writing and reading practices nowadays. In order to understand some of these mutations, we raise some discursive representations present not only in the texts produced according to the practice of mashup, but also those apprehensive through the polarization of discourse about this recent editorial phenomenon. We will constitute our corpus with two copies of mashups of Brazilian classical literature, namely, Dom Casmurro and the Flying Saucers and The Alienist Hunter of Mutants, both originating from the works of Machado de Assis. Thus, we will observe what are the linguistic and stylistic choices that define the degree of maintenance or change of narratives. We also seek to highlight the discursive formations for and against the practice of mashup. To undertake this analysis, we focus on the articulation between the assumptions of the Cultural History of reading as presented by Roger Chartier (1999) and on the concepts of French Discourse Analysis, mainly on the work of Michel Foucault (2008; 2009). Observing such changes that occur in the linguistic structures of the text, as well as in the manifestations of readers regarding the editorial dissemination of these books (from comments on blogs), we seek to discuss the principle that governs the appropriation of the editorial market of this mash-up practice, based on the assumption that it began with the spontaneous production of remixes, and that today it offers itself as an editorial line of some publishers that focus on the consumer market for children and youth.