O discurso de censura às artes no Brasil

Abstract

This thesis, linked to the research line of Discourse: subject, history and ideology and to the Discourse and Ontology Study Group (GEDON), analyzes the functioning of the discursivization process on art and cultural production in Brazil during the period of validity of the Bolsonaro government. We are specifically interested in understanding the discursive scene that arises around a series of acts of banning various cultural events that point to a policy of restricting the arts in the country. To this end, we are based on the theoretical-methodological assumptions of Discourse Analysis developed by Michel Pêcheux in dialogue with an ontological-Marxian approach. Authors like Pêcheux, Orlandi, Magalhães, Silva Sobrinho, Moreira, Marx, Lukács, Mészáros, amonge others, ground this thesis.The research showed, in general, that censorship, as a fact of language, operated in the field of arts, imposing, administering, controlling, silencing certain meanings, highlighting others, prohibiting certain themes from manifesting themselves, making works, voices, bodies, particularly peripheral, black, LGBTQIAPN+ lives. We argue that this discourse of censorship, by prohibiting sayings antagonistic to the ideology that dominates it, by denying artistic enjoyment in an authoritarian gesture that prevents access to works and artistic-cultural productions, limits the process of becoming human through the mediation of art, because it prevents it from fulfilling its ontological function, which is to express the totality of human life through aesthetic behavior. The study pointed out, however, that if it was possible to speak of censorious, alienating discourses, it was also possible to speak, through the very way in which capitalist society operates, with its conflicts and contradictions, and also of censorship itself, of resistance discourses. These acted at all times, intending the words and, through the gaps, holes, voids, silences, they produced effects of meaning not only in opposition to the discursive practice o censorship, but in bringing closer to the feeling of humanity, of human generosity, which only art is able to offer. Ultimately, the research demonstrated that the discourse of censorship of the arts, in the context of Bolsonaro's (neo)fascist policy, was mobilized to guarantee the effectiveness of the aforementioned dehumanization process and, thus, position itself as yet another ideological tool that attempts to ensure the self-reproduction of capital. Art, however, continues to resist.