Global Journal of Human Social Science, G: Linguistics and Education, Volume 23 Issue 8

between the parties. Therefore, prostitution is not just a job, a source of livelihood, but a mode of production of femininity, of a feminine ideal, based on socially established principles. We note that becoming feminine is marked by the production of subjectivity, whether by using clothing and markers said to be feminine, by using hormones, or even by performing plastic surgery and/or applying silicone. Specifically, in the case of Ronaldinho x Andréa Albertini, in 2008, although famous for the visibility of the soccer player, the approach to the issue in the news follows the logic of marginalization of these lives. In the discourse produced by the journal, the expression of inequality is reinforced by highlighting Andréa's vocabulary semantics, by the angles of the published photos, and even by the strength of the figure of the player in question in Brazil in the face of his opposing narrative. Dichotomously, when transvestites and transsexuals take to the catwalk, between 2014 and 2017, the spotlight of much of the media is focused on SPFW which, being one of the biggest fashion events in the world, was the stage for stylists such as Vitorino Campos and Ronaldo Fraga to present their collections giving visibility to these subjects. In a way, such stylists help to reframe the political and social importance of that space. Ronaldo Fraga, for example, took advantage of the Week's visibility to break with the prevailing norms and with the hegemony of biological, white, and thin women. The theme of fashion is complex and involves several dimensions – economic, social, political, historical, etc. –, being common to any of them the fact that fashion adapts to society and, at the same time, produces cultural content that also promote changes in perspectives. Thus, the parades led by transvestites and transsexuals displace these people from a place directly associated with marginality. We think, therefore, that making marginalized bodies visible enables new social flows and the manifestation of life power, as well as organizing them according to their productivity. After all, as Guattari explains in Molecular Revolutions: Marginality is the place where one can read the breaking points in social structures and the efforts of a new problem in the field of the collective desiring economy. It is about analyzing marginality, not as a psychopathological manifestation, but as the liveliest part, the most mobile of human collectivities in their attempts to find answers to changes in social and material structures (GUATTARI, 1986, p. 46). In this sense, fashion, when trying to break with the discursive logic built around transvestites and transsexuals, on the one hand always represents a possibility of opening up the society to new assemblages, which were previously crystallized in a hegemonic thought. On the other hand, the tone of manifestation presented in the fashion shows, in an event organized by notable brands, refers to the inclusion of transvestites and transsexuals in the logic of capital. It is no wonder that the bodies chosen by Ronaldo Fraga are in line with the fashion standard, that is, tall, thin, and mostly white. Recalling Hardt's words in The World Society of Control: El império acepta siempre las diferencias raciales y étnicas que encuentra, y sabe utilizarlas; permanece a la sombra, observa esos conflitos e interviene cuando es necessario un ajuste. Cualquier tentativa de seguir siendo outro en el cara-a-cara del Imperio es vana. El império se nutre de la alteridade, relativizándola y gestionándola (HARDT, 2000, p. 157) 3 VIII. F inal C onsiderations . In this way, with otherness nourishing the order of capital, the lives of transvestites and transsexuals, marked by a series of crossings, are gradually inserted into this logic. It is in this guise that current flows of capital explore subjectivities, creativity, knowledge, and relationships, and everything becomes marketable. For, “the Empire can only be conceived as a universal republic, a network of powers and counter-powers structured in an unlimited and inclusive architecture” (HARDT; NEGRI, 2005, p. 185). Finally, thinking that the current logic works broadly and captures the ruptures, from the simplest to the most complex, we realize that the use of the bodies of transvestites and transsexuals in fashion shows takes the discourses of inclusion and representativeness, freezes and segments these people; captures several and different processes and flows, reorganizes them and presents them in an already existing functioning and according to a single possible logic. In this initial reflection, we begin to unravel the implications of transvestite and transsexual lives in the media field by approaching journalistic narratives published in Folha de S. Paulo between the years 1960 and 2017, in which they gradually migrated from associations linked to the arts and spectacles, passing to be associated with marginality and criminality as a series of sociocultural changes occur, as in the case of the change from the periphery as a living space for workers to strongholds dominated by drug traffickers, noted with the expansion of the world of crime in these spaces from the 1990s onwards. in the production referring to people who recognize themselves as transvestites and transsexuals, in which 37% of the articles are published in the Cities section ( Data table I ). 3 In our free translation: “The Empire always accepts the racial and ethnic differences it encounters and knows how to use them; stays in the shadows, watches for these conflicts, and intervenes when an adjustment is needed. Any attempt to remain face-to-face with the Empire is futile. The empire is nourished by otherness, relativizing and managing it". Volume XXIII Issue VIII Version I 14 ( ) Global Journal of Human Social Science - Year 2023 G © 2023 Global Journals Discursive Walls: Mapping Trans Coverage through Folha de S. Paulo between 1960 and 2017