O que faz um currículo que verte sangue?: nas entranhas de uma subjetividade zumbi

Abstract

This thesis has as object the curriculum of serial media narratives, meaning it as an artifact involved in the “pedagogy of existences” and in the delimitation of lives as “livable” and as “killable”. Based on post-critical theories of education, this study aimed to investigate the images of life and death in the teachings of gender, sexuality and race in the curriculum of serial media narratives. Recognizing in these markers of a social difference some lines for the constitution of a “whirlpool of lives”, the central question that guides the research and that entitles this thesis is: “what does a curriculum that pour blood?”. The thesis defended here is that the curriculum of serial media narratives, by constituting a deterritorialized biopolitical assemblage, has updated the lines of a “catastrophizing device”, converging to the production of a “zombie subjectivity”. The research fits into the framework of curriculum studies that, inspired by the work of Cultural Studies and philosophies of difference, the discourses and constitutive lines of this artifact were examined in their availability of subject positions and modes of subjectivation. The analysis of this material focused on an articulation of different post-critical methodological orientations, producing a “methodology-zapping” based especially on the discursive analysis by Michel Foucault and on the cartography by Gilles Deleuze and Félix Guattari. The thesis shows that the curriculum of serial media narratives has demanded ways of life in precarious registers, converging to the production of a “zombie subjectivity”. “Zombie subjectivity” refers to the subject's way of relating to himself, in the enjoyment of various subject positions made available by this curriculum, in a modeled, serialized, programmed composition. The analysis presented here evidenced that, in this curriculum, there is a hybridization of "regions of control" - spaces whose function is to capture, control, dominate, hide and annihilate the difference - and the "escape zones" - assemblages that forge fissures in the hierarchical models, allowing that the audience of serial media narratives can fable other modes of existence. In its regions of control, this curriculum has a double action. On the hand, it is involved in a normalizing policy of disguising expressions of gender and sexuality through a “technology of pimping. On the other hand, it triggers a “technology of apoptosis” in the face of markers of difference, creating and articulating meanings that seek to justify the possibility of purging what it considers unwanted through an “apocalyptic pedagogy” related to the practices of programming death. Although this curriculum triggers necropolitics that aims to eliminate the infamous and obscene, it will face resistance as inventive, cunning, and agitating as the power it wields. Therefore, this artifact activates the creative escape zones in this normalizing space and inaugurates smaller existences, contributing to the production of a “minor-curriculum” that articulates love and laughter as vectors of disaggregation of the investments of concealment and extermination. Consequently, the curriculum of serial media narratives is an artifact coextensive with our existences, capable of shedding blood but also overflowing life.