AURELIA'S SHARP TONGUE IN THE LIGHT OF BAKHTIN: WHAT CARNIVAL IS THIS?

Abstract

This paper analyzes, from the Bakhtinian worldview of carnivalization, the work Aurélia - a dictionary of the sharp language (2013 [2006]), since this production inverts ideals of an official work in an instrument permeated by a language from popular culture. This metalinguistic material is pointed out as a dictionary that presents 1,300 entries typical of the language practices of members of the LGBTQIAP+ community, obviously with reservations, as its production does not come from the rigor of traditional lexicography, but which still represents a worldview of language subjects, who integrate the community. That said, this article corresponds to an interpretativist analysis of dialogical bias, considering a reading of the linguistic and non-linguistic elements that permeate the material: entries, introductory notes, covers, figures, etc., thus, it is of a qualitative nature of documentary character. In this way, we use the discussions of Bakhtin's Circle, especially the ideas of carnivalization in order to spectacularize the work, the comical linguistic signs and the "break" of the seriousness of the entry genre. Such aspects confirm the irreverence of Aurélia and her itinerant identity within a society that advocates the culture of the grammatical norm and the official orthography for the purposes of (socio)linguistic standardization.