Uma sociologia da compreensão a partir do par crítica e jocosidade

Abstract

Resumo: O objetivo deste artigo é analisar o papel desempenhado pela compreensão nas situações críticas, a partir de momentos nos quais a jocosidade seja o elemento central da crítica. Para tanto, o texto entrecruza duas pesquisas nas quais o humor serve como forma de operacionalizar a crítica: 1) observações nas ruas de dois bairros do Rio de Janeiro em busca da operacionalização da crítica por meio de dispositivos de jocosidade, o que produz modulação da crítica; e 2) grupos focais com estudantes a respeito de cartazes jocosos das manifestações políticas de 2013 no Brasil, analisando críticas baseadas na ridicularização pela ironia. Estuda-se, então, como os atores compreendem (ou não) uns aos outros na definição das situações em que se inserem e o papel da ideia de compreensão, isto é, da contemplação dos quadros de referência abstratos do outro, nessas situações. Depreendem-se três dimensões da compreensão de elementos situacionais a partir desses signos: cognitiva, contextual e moral. Abstract:The aim of this paper is to analyze the role of comprehension in critical situations, by means of the observation of moments in which jocularity is the central element of criticism. Therefore, the text intersects two investigations in which humor serves as a way to put the critics in operation: 1) observations in the streets of two neighborhoods of Rio de Janeiro in search of deployment of criticism through jocularity devices, which produces modulation of criticism; and 2) focus groups with students about joking posters of 2013 political manifestation in Brazil, focusing on criticism based on reducing to ridicule by irony. I analyze how the actors comprehend (or not) each other in defining the situations in which they are in and the role played in such situations by the idea of comprehension, that is, the recognition of the abstract frameworks of the other. Here, we perceive three dimensions of comprehension of situational elements based on these signs: cognitive, contextual and moral.

Critique-Form, Forms of Critique: The Different Dimensions of the Discourse of Discontent

“…One of the lines of research explored concerning the posters involved focus groups to discuss the use of humour in political demonstrations. The specific details of this study have been analysed elsewhere (Werneck, 2016). The relevant aspect of this analysis here is that it revealed the need for those involved to comprehend the elements of the critique in order for it to be viable.…”

“…This becomes fairly clear in the case of the utilization of humour in the demonstrations (Hart & Bos, 2008;Beckman, 2014). After all, a critique needs to be comprehended, not only from a cognitive point of view, but also in a contextual and moral sense (Werneck, 2016). As an example, we can take the following banner: critique-form, forms of critique: the different dimensions of the discourse of discontent This may appear incomprehensible to someone, for example, unfamiliar with the governor of São Paulo at the time of the June Uprising, Geraldo Alckmin, one of the 'villains' of the quarrel over public transport fares and over police suppression of the protests -though most people will have been aware of the target.…”

“…To do so, we turn to a set of research studies conducted separately, each with its own peculiarities and its own empirical and theoretical framings, 7 but here placed in dialogue based on their main point in common: the manner in which actors operate the formal dimension of critique in order to construct it. On one hand, Alexandre Werneck analyses, through a series of empirical fronts, how critique operates in two different registers: in some situations, in a modulated form, that is, adjusted continuously to avoid the formation of fully critical moments (Boltanski & Thévenot, 1991), which is observed by him in playful everyday practices known as zoações, 'teasings' (Werneck, 2015(Werneck, , 2016; in others, accusatory in form, it is explored especially in the observation of banners from the 2013 demonstrations throughout Brazil, which used humour to criticize the political situation of the country 8 (Werneck, 2018). On the other hand, Pricila Loretti (2016) explores the conflicts that she observed ethnographically from 2011 to 2015 among the residents of the aforementioned Rio favela and electricity company, which began to act more intensively in the area after the implantation of the UPP.…”

The Force of Grace, the Grace of Force: Joking Critique of Figures of Urban Violence on the Covers of a Tabloid Newspaper as the Violentization of Public Discourse

“…My argument is that although this indeterminacy began in 2008 with the genesis of the UPP program, from 2011 the public discourse of the city, here epitomized by the representations published in Meia Hora, underwent a routinization, the fixation of a series of signs and their meanings as quotidian, which enabled consolidation of the elements of a grammar of urban violence 20 in the aforementioned actantial system and its simplification as a set of actants, enabling a critical dialogue on urban violence to be made through ridicularization (WERNECK, 2019). This analysis simultaneously converges with two of my principal areas of inquiry: a comprehensive and pragmatic sociology of critique (BOLTANSKI, 2009;WERNECK, 2012aWERNECK, , 2015aWERNECK, , 2016aWERNECK, , 2016bWERNECK and LORETTI, 2018) and an analysis of the question of violence in Rio de Janeiro as a sociology of morality (WERNECK, 2012b;2015bWERNECK and TALONE, 2019;WERNECK, TEIXEIRA and TALONE, 2020;WERNECK, TEIXEIRA, TALONE and CAMINHAS, 2021). The meeting of these perspectives enabled an advance in the comprehension of critique as a moral phenomenon and of violence as an interpretant (PEIRCE, 1977(PEIRCE, [1897; WERNECK and TALONE, 2019;WERNECK, TEIXEIRA and TALONE, 2020;WERNECK, TEIXEIRA, TALONE and CAMINHAS, 2021).…”