Ana Paula da Rosa 164 The discursive elaborations of the news about Aya’s image add a connotation of appeal to the reader’s emotions. It is not just a face, but a face that looks at us amid suffering. On the one hand, there is the celebration of life; on the other, the adherence of violence against childhood. Newspapers and posts made the comparison with “the girl who cries blood,” promot- ing a link between the conflicts, the religious imaginary, and the angelic side of childhood. In a process of social phagia (ROSA, 2016), Aya’s picture was also widely inscribed in circulation and replicated. However, the meanings derived from it were many, ranging from political tensions involving Russian attacks, Syr- ian militia groups, and even the UN. Later, Aya appears holding a poster in a UNICEF post on Twitter (fig. 04) in which there is a strong political appeal. Figure 04: Aya in protest “Don’t bomb me again, it hurts”. Retrieved from Twitter (Available at: https://twitter.com/ hadialbahra/status/787320150387294214/photo/1)
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