This work consists of a research on the factors that favor the teaching-learning process of the Portuguese language, in the written modality, for deaf people. However, unlike other academic works - which usually focus on teaching work and on teaching methodologies of the Portuguese language for the deaf -, this research will focus on the perspective of the deaf learner who, today, are adults who are studying or are already studying. completed higher education. Quadros (1997) will have his theoretical thinking supported by authors such as Neves (2017), Miranda (2019), Brochado (2003), whose research developed, in their graduate studies, addresses the complexities experienced by deaf children during the process. of learning Portuguese in the written modality. In this sense, the main focus of this work is to give a “voice” to the deaf, seeking to investigate and analyze which factors contributed to the development of reading and writing competence by deaf people who learned Portuguese as a second language and are proficient in written Portuguese. Data were collected from, firstly, a questionnaire sent to the deaf people belonging to UFJF and IFMG. Through the answers to this questionnaire, those individuals who would have been able to answer it autonomously were selected, in order to participate in the second stage of the research. This consisted of an interview, by means of a video call - which was later transcribed - in order to observe the personal perspectives of the interviewees on what would have been the most important aspects in their teaching-learning process of Portuguese as a second language, which would have contributed to, nowadays, becoming fluent and, therefore, autonomous subjects in society. Such data were analyzed in the light of Grounded Theory, based on the authors Charmaz (2009), Denzin and Lincoln (2006), Strauss and Corbin (2008). In addition, the interviews will allow analyzing the efforts made by the school, teachers, family and the deaf students themselves that have allowed them to be successful in the process of school social inclusion in the country, mastering Portuguese as a second language.

This investigation aimed to understand the interrelation between the students' motivation and that of the English language teacher in a group at a private course in the city of Carmópolis de Minas. The theoretical framework of the investigation is on Dörnyei’s (2020) concept of L2 motivation and the construct of coadaptation, according to Larsen-Freeman and Cameron (2008). The complex system investigated was constituted by the motivation of the teacher, that of the students’, and the learning context. The time window was a set of ten classes, the time needed for the implementation of a complete didactic unit. Data generation involved filling out a form by all participants, provided by Google Forms, entitled Motivational Meter, at the beginning and end of each class. In this form, the participant's motivational level was objectively indicated, by his choice between motivated, neutral or unmotivated, and subjectively justified with a brief comment. In addition, before each class, the teacher recorded a short narrative in audio in which she briefly described her planning for the specific class. And, at the end of it, she recorded another narrative describing how the class went, giving her impressions and recording anything unexpected that happened, especially related to the behavior of the students. Data analysis confirmed the dynamic character of motivation, which fluctuated a lot, both as a result of interactions within the classroom and external factors. It also proved the relationship of constant interdependence between the teacher's motivation, the students’ motivation, and the learning context with the description of the documented co-adaptation processes. The complex character of motivation was also proven, since we were not always able to explain the motivational variation from the beginning to the end of each observed class.

This dissertation presents a study on how humorous discourse has been explored in the process of teaching Portuguese as a foreign language in a textbook. As is known, the textbook is one of the tools used by teachers in the teaching process, being an important didactic-pedagogical material, since, in most contexts, it is responsible for guiding the teacher's work, in addition to being a considerable source of information and access to culture. In addition, it bears several textual genres used in everyday life. The present research focuses specifically on the humorous genre, which proves to be effective in the learning process, because, in addition to providing fun, as advocated by some studies, it is constituted from a great semantic and linguistic load, together with ideologies and cultural aspects. From the humorous discourse, it is possible to understand the culture of a people and the customs of a society, make criticisms and, at the same time, bring reflections, so it is a rich source of learning for people who seek to learn Portuguese as non-mother tongue. About the Textbook we resort to the voices of scholars who reflect on the importance of the Textbook especially on the Textbook of Portuguese as a Foreign Language highlighting Silva (2016) and Rojo (2005) who deal with its role in the learning context and outside it , such as its cultural, pedagogical, educational and public importance, with textbooks being relevant not only in the teaching context, but for society.
When researching humor, authors such as Bakhtin (1997), Charaudeau (2002), Maingueneau (2002) , Possenti (2001) and Orlandi (1996) enrich our study with their contributions on Discourse analysis, especially the analysis of Humorous Discourse , based on their conceptions of humor and the aspects that lead a discourse to be humorous, such as historical and social elements, ideological constructions and production conditions that influence the production of meaning. In this way, we realize that there are excellent works that develop very well both the analysis of humor from the linguistic point of view, and the analysis of the Textbook as a pedagogical support, works that served as a theoretical reference for the study that was developed in the following chapters.
Thus, through this research, it was possible to infer that DH contributes positively to the learning of those who need to learn Portuguese as a foreign language, and considering that LD is one of the most used tools in the teaching process, and therefore as a support pedagogically, we analyzed the DH from the textbook, especially the LDPLE, defending the idea that humor positively contributes to the teaching and learning process of people who seek to learn Portuguese as a foreign language, taking into account their needs, which range from from learning the lexicon of the language, to cultural issues related to the Brazilian community.

The political discourse played a central role in the socio-discursive representation of the covid-19 pandemic (Corona Virus Disease 2019) in Brazil, which resulted in over 700,000 deaths in the country between 2020 and 2023. President Jair Bolsonaro, due to his social position and legitimacy, conferred veracity to this discourse. Drawing upon Discourse Analysis and Patrick Charaudeau's Semiolinguistic Theory, this dissertation sought to highlight how enunciative strategies operated in political discourse as a speech act during the health crisis. Four videos published on Jair Bolsonaro's personal profile on digital social networks, addressing the topics of public health and covid-19 in different scenographies and communicative situations, and with a high number of views, were analyzed. The analytical categories used were the construction of his image (ethos), pathemic elements in populist political discourse (pathos), and controversial interdiscursive relations. Comparative analysis identified common discursive strategies across all statements, such as downplaying the severity of the effects of covid-19, a dramaturgy that staged a populist discourse, dichotomy, and polarization of meanings in the socio-discursive representation of the pandemic through pathemic strategies. Constant justification in response to criticism was also observed, along with the use of controversial interdiscourse to reshape non-veridical meanings and the utilization of interdiscourse to evoke social images that influenced pathemic effects. Each analyzed microdevice projected a specific discursive ethos, contributing to the effectiveness of the discourse and exerting influence and persuasion.

This essay experiment aims to map the work The Dream-Quest of Unknown Kadath by the American writer Howard Phillips Lovecraft in order to understand how the monstrosities are articulated in its composition plan and how they relate to its aesthetic figures, especially when interacting with the protagonist Randolph Carter, who traverses the various territories of a dream world in search of his marvelous city at sunset. To do so, we approach some authors and theorists who have developed their experiments regarding monsters, monstrosities and their relationships with the territories (reception and influence) in which they are inserted. These theorists include Michel Foucault, Judith Butler, José Gil, Jeffrey Jerome Cohen, and others. However, it is through the thinking of Gilles Deleuze e Félix Guattari, their ideas and concepts that turn towards the creation of a philosophy of difference, that we are able to establish better connections with Lovecraft's work and its monstrosities, especially because the creations of these philosophers of immanence allow us to approach the expressions of difference, multiplicities, intensities, and the unknown (novelty). From the conclusions, we discover that Lovecraft's writings open up to a plane of immanence and reveal to us its compositional intensities, to the extent that its monstrosities, as aesthetic figures, serve to reveal an expression of Deleuze e Guattari's philosophy, which is necessarily linked to difference itself.

This master’s thesis aims to study Ailton Krenak’s books published by Companhia das Letras from a bibliography that mainly contemplates two aspects: first, the translation from oral to written and the graphic design of books; second, interviews with four important construction agents: Rita Carelli, organizer; Ricardo Teperman, editor of Companhia das Letras; Alceu Nunes, art director of Companhia das Letras; and Ailton Krenak, the author. To do so, it addresses the author’s formation from the history of the Brazilian Indigenous people and the Krenak people, as well as his journey as an Indigenous leader to the construction of himself as an author and his works. Based on the translation from oral to written, the dissertation includes discussions about indigenous orality based on concepts such as litura and oralitura, as well as on indigenous production that emerges from decolonial forces. These points affect the materiality of Ailton Krenak’s books, which are also treated here regarding the editorial processes that constitute the book as an object, as well as the absorption of indigenous thought from the demand and needs of the market. The analyzes consider aspects of editing, organization and design, the latter explored by the format of the book, the composition of the inside and its covers: composition, typography, and colors.

The objective of this work was to analyze the contextual aspects present in the English language learning experience of high school students, carried out in the emergency remote teaching modality. All students in the 1st, 2nd and 3rd years of a private school in Belo Horizonte, who experienced emergency remote teaching in 2020, were invited to participate in the research. Data were generated from conducting a semi-structured interview with students who wished to contribute. Using contributions from Brazilian experiential research (MICCOLI; BAMBIRRA; VIANINI, 2020) as a theoretical framework, we analyzed, from the perspective of complexity theory (LARSENFREEMAN; CAMERON, 2008; DE BOT; LARSEN-FREEMAN, 2011), the experiences that emerged from the narratives of ten participants. They were categorized according to the framework of experiences of learning English as a foreign language proposed by Miccoli, explaining their nature and composition. By identifying the factors that most influenced the participants' learning, it was possible to verify that the context is an individual, singular experience (MICCOLI; VIANINI, 2012), as well as a relational one, that is, because they are complex dynamic systems, context and learner are constituted mutually and continuously (USHIODA, 2015) and learning emerges as a result of this interdependent relationship (LARSEN-FREEMAN, 2011).

Owing to the transgression of the works and life of the São Paulo writer Hilda Hilst (1930-2004), this dissertation discusses how the rewritings of the works and public images of Hilst took place in the brazilian literary field, via edition. To do so, we rely on the perspective of André Lefevere (2007) that the editing process are efficient rewriting mechanisms, which are often motivated by personal, ideological and/or market issues. Our methodology involved mapping and analyzing all edition of printed books exclusively authored by Hilst published from 1950, when Hilda released her first book, until the 2021 reissues. Our corpus encompasses one hundred and five volumes, from first editions, reissues and translations/publications abroad. As a methodological strategy, these editions were grouped and analyzed from what we identified as four major periods of rewriting of Hilst's works and public images: between 1950 and 1989; between 1990 and 2000; in the 2000s; and from 2010 to 2021. We sought, in the first two periods, to identify the influence of the writer’s personal motivations on the editorial choices of her books so that, in the following periods, we could contrast the reissues with these scenarios. The investigation was based on the paratexts of the editions, according to Gérard Genette (2009), focusing on the peritexts of the books, but also using epitexts (such as interviews, correspondence etc.) in search of evidence. From these elements, we seek to point out the main motivations for the rewritings, visualizing how Hilst’s collection and her images were appropriated according to different rules, also considering the logic of the literary and editorial fields, mainly from Pierre Bourdieu (1996a; 1996b; 2003; 2004; 2018a; 2018b) and José Muniz Jr. (2012; 2019). Additionally, to analyze the first editions of the books, we also based ourselves on discussions about women in the literary and publishing fields, according to Regina Dalcastagnè (2012; 2021), Constância Lima Duarte (2017; 2019; 2020), Ana Elisa Ribeiro (2020a; 2021; 2022), Luciana Borges (2013), among others, as well on the reflections on symbolic violence, according to Bourdieu (2012), editorial gender violence, according to Micheliny Verunschk (2017), and feminist praxis, according to Marta Simó-Comas (2019). In our investigations, we verified that, in the first two analyzed periods, the rewritings of Hilst's works and public images were greatly influenced by the writer herself and, especially in the editions published by Massao Ohno Editor, there is a more transgressive approach than in the others. In other periods, rewritings were motivated by a predominance of ideological and/or market issues. Thus, we conclude that the rewritings of Hilst's works and images via editing were impacted, in addition to the author and her heir(s), by the publishers’ actions closer to the symbolic or economic pole, which influenced in the choices adopted not only in relation to which books were (re)edited, but in the way the (re)editing took place. Finally, this work is also composed of a Catalog of Editions, presented in Appendix A, which contains information that is more detailed and photographs of the editions of the books studied in our corpus.

This study examines the transposition of the literary text A hora da estrela, by Clarice Lispector, into the musical A hora da estrela ou O canto de Macabéa, by director André Paes Leme, in the context of the centenary of the author's birth in 2020. The analysis focuses on concepts such as language, otherness, image and resistance. Clarice Lispector's work is brought into the context of the Brazilian reality, marked by the rise of the extreme right in Brazil in the period from 2018 to 2022. An attempt is made to show that interdiscursive analysis in the light of interart and intermedia studies calls for new approaches to issues of language and fictional traits of the author that allow us to both update the social denunciation contained in the work and suggest the presence of the author herself on the scene through her protagonist.

This study aims to analyze the educational processes of Romani children and teenagers from the Rom group and their perceptions about school. The goal is to understand the values they place on formal education, as well as the reasons these children and teenagers are not enrolled, or if enrolled, why they do not stay in school. This research also seeks to examine their relationship with their native language, Romani, which stands as a significant symbol of belonging and identity for this community. To achieve this, an effort is made to create a historical profile of this segment of the population, which is often subject to discrimination and anti-Gypsyism. This is done to better understand their unique characteristics, as gaining insight is considered crucial for overcoming prejudice. We also review the legal landmarks pertaining to the Romani people, especially concerning education, in an attempt to pinpoint the role of these legal provisions in setting up guidelines that promote the actual inclusion of the Romani people in formal schooling. Additionally, this research looks into the "Kalinka Project: Gypsies in My School – An Invisible Story", which employs a pedagogical approach grounded in intercultural practices, incorporating the culture, traditions, and way of life of the Romani people into the realm of formal education. This study operates on the belief that interculturality and the surrounding education, as seen through the lens of Maher (2007), are essential for an inclusive education that fosters dialogue between different cultures, like the Romani and non-Romani cultures present in schools. Through qualitative research, adopting a perspective of 'otherness', and with input from 5 (five) Romani children and teenagers from the Rom group, we aimed to hear this demographic segment from their viewpoint. It was concluded that despite the positive value assigned to schools by the research participants, the institution is still not adequately equipped to welcome those who do not align with the dominant societal values. Besides being absent from curriculums and pedagogical practices, there is also an evident unpreparedness of the teaching staff to deal with diversity in the classroom. It is hoped that this study can broaden the discussion on the schooling of Romani children and teenagers, a topic on which there are few published studies in Brazil, and aid in crafting educational projects and policies that address the unique needs of this population segment.

This research aims to verify the presence of black Brazilian writers in the Portuguese language textbooks made available by PNLD 2021, since in the PNLD 2018 textbooks the invisibility given to these writers is notorious, due to the study of Brazilian literature being represented mostly by a group of Brazilian writers - white men and women, generally from an elite social class -, the hegemonic group. Portuguese language textbooks, according to the PNLD 2021, are unprecedented works, as their guiding document, in addition to other legal frameworks, is the BNCC, which emphasizes diversity, from a multicultural perspective, as a reflection of the public served in Education Medium, youth. To this end, we analyzed how Brazilian writers are present in the collections of Portuguese language textbooks from publishers present in the 2018 and 2021 PNLDs, through decolonial and intersectional perspectives. The decolonial approach aims to give visibility to knowledge other than the hegemonic, through an ecology of knowledge, and by questioning the patterns of power that insist on inferiorizing and erasing cultures, through critical interculturality. The intersectional approach aims to highlight black women within a universalization of the concepts of gender and race. In this sense, these two approaches become relevant to give visibility to black Brazilian writers in the Portuguese language textbooks of the PNLD 2021.

This dancer-research study constructs a dialogue to reflect on the contemporary ballroom dance scenery. It is based on the shows Por um fio, 1717, E vê que ele mesmo era..., and Me brega, baile!, in continuously rhizomatic processes of a plural and cartographic regard to the ballroom dance scene. First, I reflect on what traditional ballroom dance is, what its traditions and customs are. I bring about voices and listen to them with my words, so that I can arrive somewhere, or multiple places: A journey with an outlined destination to the contemporary in the scenery, but with no expected arrival. This research study is based on cartography as a route to a method of monitoring processes, outlining lines, mapping territories and allowing escape routes. Everything is involved in the invention not only of the dance shows aforementioned, but also in the entanglement of my own research. The objective is to look at political bodies in contemporary ballroom dance performances. Through image and movement analysis, I investigate the construction of texts performed by two in the transposition of these narratives. The territories and routes glimpsed by me are relative to my cartographic experience; therefore, as specific objectives I map which traditions make up ballroom dance and establish themselves as a political place of the body in power relations; I outline the contemporary trajectory of the ballroom dance scenery, from images and movement to choreographic language; I follow the dramaturgical movements of political bodies in the production of texts performed by two; and finally, I draw a horizon of thought (in becoming) in contemporary scenic ballroom dance. The central problem of this research is to unveil how political bodies produce texts performed by two for choreographic language in contemporary ballroom dance performances; how the images of the analyzed shows reveal a discontinuous dramaturgy of dance patterns and how contemporary ballroom dancing involves restlessness and transgression to trace body-textualized movements on stage.

This paper intent to analyze, discursively, the books Quarto de Despejo (2000 [1960]) (The Trash Room) and Casa de Alvenaria (1961) (I’m Going to Have a Little House) from Carolina Maria de Jesus, searching for identify, through excerpts, effects of meaning on "subalternity" and "hope" that emanate from these diaries, considering the condition of production of these publications. Linked to life narratives, this study aimed to investigate how the Carolinian discursive subject discourses, mainly, about himself, engendering the narration of the analyzed material. The French Discourse Analysis was chosen, based on the theoretical-methodological framework of Michel Pêcheux (2014; 2015), and Orlandi (2015), considering, in this study, the relationship of the subject with language, history and ideology. This is a basic, bibliographical research with an exploratory orientation. To compose the analyses of this corpus, excerpts were selected from Quarto de Despejo (2000 [1960]) (The Trash Room) and Casa de Alvenaria (1961) (I’m Going to Have a Little House) to understand how subalternity and hope are present in discourses of Carolina and how this serves as basis for the subject-narrator to construct the narration. The analyses indicated that the discourses present in this corpus could be inserted within the conception of "subalternity" and "hope", that they are not linked to their literariness, but come from different positions assumed, these taken according to their discursive formations, depending on factors external to the language.

Despite the achievements and advances in legislation regarding the education of deaf students, the Brazilian deaf community is still fighting for the recognition of Libras as a natural and instructional language, an education with bilingual schools and greater visibility for deaf people in the educational and social sphere. Specifically in the educational context, there is still a lack of professionals working with deaf students, many of whom come from hearing families who have late contact with sign language. Teaching practices and teacher guidance show the need for in-service training for education professionals who work with this public, due to methodologies and teaching materials not aimed at deaf students, but at hearing students. The proposal of this doctoral research refers to the presentation of the training of professionals and the elaboration of didactic material that meet the Education of the Deaf, which is linked to the research group in Materials and Didactic Resources nucleated in the Postgraduate Program in Language Studies (POSLING). The specific objectives are: To analyze the perception of professors and other professionals involved in the collaborative construction process on didactic material designed for teaching Libras in the AEE and the application of Libras teaching material for deaf students. The research is developed with the question “how the post-method pedagogy can contribute to the elaboration of the material”, considering the multimodality in the didactic material for teaching Libras as L1 for deaf students. Based on this, this research contributes to the discussion of the importance of continuing education for professionals who work directly with deaf students: classroom teachers, Libras instructor (ILS), especially in Specialized Educational Service (AEE) rooms and Libras/Portuguese Translators/Interpreters (TILSP). It starts with in-service formation guided and conducted by the researcher, during the pandemic period, in 2020, for ILS, TILSP professionals and AEE teachers. The theoretical basis is the writings of Gesser (2009), Karnopp and Quadros (2004), Perlin (2002) on the historical context of sign languages (SL), Libras, language acquisition and bilingualism in the education of the deaf; Kress (2001, 2006 and 2010) with regard to multimodality and education; Leffa (2007) regarding the creation of didactic material; and Kumaravadivelu (2003) with the discussion regarding postmethod Pedagogy. In methodological terms, the research is qualitative, with the application of a questionnaire answered by the professionals involved with the objective of analyzing the evaluations on the formation and elaboration of the teaching material for the teaching of Libras as a culmination of the formation carried out in the year of 2020. The data analysis reveals the positive and critical opinions of the subjects involved about training, the production of didactic material for teaching Libras and the feasibility of using it with images and linguistic elements in the AEE rooms. Teachers' and students' actions with the material are also revealed, such as specifying its execution. Research can provide actions by the professionals involved beyond what is foreseen in the use of didactic material.

In this study, we addressed the washback effect of the test hat grants the Certificate of Proficiency in Portuguese for Foreigners (Celpe-Bras). Washback effect refers to the influence that an examination tool can exert on teaching and learning practices, leading those involved to take actions they might not necessarily have taken if not for the sake of a given test. In official documents (BRASIL, 2020), the public institution responsible for the Celpe-Bras examination stated that it was developed not only to assess the proficiency level in Portuguese of non-native speakers but also to help reorient the teaching and learning of the language based on the theoretical and methodological foundations of the said test. The examination, considered communicative in nature, has key concepts for its implementation: a proficiency view not referenced to the "native" speaker; the use of texts considered authentic; a language-culture concept that considers interculturality; and language performance through the completion of communicative tasks (BRASIL, 2020). The study was conducted with four teachers of Portuguese as a Foreign Language (PLE) working in different institutions, two in Brazil and two in two other Latin American countries, considering one institution that administers the examination and one that does not in the Brazilian and international context. The analysis was based on data collected from a completed questionnaire, 50 hours of observed classes, and documents used during those classes. The description of these classes was carried out based on the Communicative Orientation of Language Teaching, COLT (ALLEN et al., 1984; SPADA; FRÖHLICH, 1995), adapted for the purposes of this research. The results showed that all the participant teachers declared having a good knowledge of Celpe-Bras, even those who have never been examiners, suggesting that the examination plays an important role in the initial and continuing education of PLE teachers. However, not all of them recognize the influence of the examination on their practices. After analyzing the observed classes, it was possible to notice that some practices, especially in intermediate to advanced levels, approached the ideals of Celpe-Bras regarding the use of authentic or adapted materials from various discourse genres, increased learner protagonism, and the integration of skills they used. It was also concluded that the examination alone is not sufficient as a policy for a profound improvement of teaching practices. A policy that reinforces teacher training and the creation of a reference framework for teaching Portuguese as a foreign language is necessary.

The production, circulation and reading of texts in a digital environment are crossed by online platforms. Therefore, we live in a post-platform digital culture, increasingly implicated in communication mediated by algorithms and the translation of everything into data. This research investigates the reconfiguration of writing and editing practices based on Google's algorithmic logic, which has established itself as an infrastructural platform capable of ordering, filtering and selecting immaterial production online. The incorporation of techniques in response to Google's ranking is common and practiced ambivalently by text producers and editors. The ambivalence lies in the fact that these producers feel, on the one hand, that they have to balance their work between relevance for audiences and for algorithms, on the other hand, many of them create production tactics that seem to beat Google's blackbox in the name of content performance. This research is theoretically supported by Text Linguistics, with references that understand the text not based on its essence, but rather on its production, circulation and reading conditions, that is, from its existence. As methodological inspirations, we have Platform Studies, Critical Algorithm Studies and Digital Methods, which have conceptual matrices originating from Science and Technology Studies. We are also inspired by Web Search Studies, which in turn feed on ideas from Information Retrieval. In the course of the research, we integrated two phases of qualitative methods: 1) document analysis of Google, to understand its operation and governance; 2) experiences of writing and editing texts, in a simulated space on Wordpress.com, to observe the practices incorporated by producers and editors. The corpus of phase 1 is composed of documents that have a legal emphasis and try to protect Google from harmful attitudes practiced by its users. There are also documents regarding the platform's expectations about what is appropriate or not when using the search engine, and also about what is ideal to achieve better content circulation performances. The corpus of phase 2 is composed of five texts that represent different modes of production, objectives, audiences and discursive genres. In the analysis, five categories emerged that allow us to connect Google's algorithmic eligibility with writing practices in a digital environment. We conclude that the platformization of the text is the phenomenon composed by the crossing of algorithmic criteria and norms, defined by the search engine, in writing and editing. We demonstrate that Google has changed our way of writing, because it has consolidated its indexing and classification model as almost inevitable, which forces text producers to write with a mythological relevance in mind. This tensioning gives rise to the post-platform text, of an immanent and contingent character, which is built in a hypertextual way due to the nature of the medium and the reading processes, but also in attention to the performance for visibility.

The research in question addresses the intersection of literacies, technologies and decoloniality in the Degree in Rural Education (LEC) at UFVJM, specifically in the area of languages and codes. The motivation for this study originates from the perception of LEC as a potential promoter of dialogue between popular and academic knowledge, empowering students in rural contexts. However, there is a gap in the recognition of this degree in relation to the areas of activity for its graduates. As described in the course's pedagogical project, this degree takes an (inter)transdisciplinary stance, although several practices developed in its context point to intercultural and decolonial approaches. Therefore, it is assumed that the data from this research can highlight the "urgency" for this degree to take a decolonial stance. These themes were investigated with the general objective of problematizing the trajectory, impact and developments resulting from the institutionalization of the LEC in the area of languages and codes at UFVJM through an integrated analysis of the legal frameworks, the trajectory and impact of graduates, the interrelations between literacy, digital technologies and modernity, and the construction of the rural educator's teaching identity from a decolonial perspective, aiming to contribute to improving the training and performance of these professionals. The theoretical foundation of the research is based on notions of modernity in relation to the country-city dichotomies, literacy and technology from a decolonial perspective and interdisciplinary and/or intercultural training. As for the nature of the research, it is a narrative and documentary research that compares nineteen graduates' narratives with the course's official curricula and other experiences. The narratives analyzed from a decolonial perspective highlight limitations in the performance of these rural educators, restricting their professional possibilities. The narrative research approach enriches the discussion about the training path, contributing to a deeper understanding of teaching identity in the rural context. In summary, the research demonstrated that Alternation Pedagogy at LEC represents a progressive educational model that promotes diverse, inclusive, intercultural and decolonial education. However, the peasant context, marked by its dynamics and constant conflicts, has often been neglected and excluded from discussions on public policies, especially those related to education and digital inclusion. In this scenario of social vulnerability, aggravated by digital exclusion, it is possible to see that literacy practices in digital environments can be more than just the management of devices or systems. Emerging as a path to foster literacy and interculturality, and to promote inclusion and social empowerment. This critical view recognizes the significant impact of technology on social inequalities and highlights the imperative of an ethical and responsible approach to its use.

This doctoral thesis aims to investigate how the media behaved during the years 2006 and 2016, a period that became known as “mediatization of the new middle class”, a controversial topic, used to refer to classes C, D and E. And that they had gained purchasing power. In order to attract the attention of these segments configured as important consumers, the media and mainly, sponsors, interested in selling to this public invested in the creation of television programs and radio stations, also creating newspapers and magazines aimed at these segments emerging. In this context, the magazine “Sou mais Eu!”  was chosen as the corpus of this research, created by Editora Abril, and identified as a pioneer in Brazil by surventing techniques classifiable as pilars of traditional Journalism by purchasing life narratives from readers to transform them in news. However, it was up to the publication to define which story topics would be subject to publication. Prices were paid to readers according to topics and number of pages. These prices were prominently displayed on all copies. This arrangement turned anonymous men and women into anonymous celebrities; emphasizing the actions of these, who, like Narcissus in reverse, often displayed the worst of themselves. Although their photos were published on the cover, these simulacrums of headline and cover headline protagonists did not even have their names published on the first page of the magazine. This circumstance gave rise to the main question of this research: detecting wich ethé and “Sou mais Eu!” produced of itself; and what were the socio-discursive imaginaries of readers constructed by this magazine. This inquiry was based on the fact that in the first edition analyzed in this thesis; having adopted as its motto “incredible stories of people like us” but having replaced this slogan in the second issue studied by: “The most fun magazine in Brazil”. Thus, form ed. nº 33/2007; the narratives of these readers were characterized by the radicalization on the “fait diver” genre, deepening the use os sensationalist, ambiguous and pejorative verbal and extraverbal discourses, justifying the need to detect who the “Eu” of the name “Sou mais Eu!”. In this context, this research was based on adherence to the methodological procedures of Semiolinguistics, concluding, at the end of this study, that the highest paid narratives coincided with the journalistic genres of the “Publicist and Sensationalist/Didactic” type, characterized by the targets (doing/believing), that is: for constructing aesthetic, behavioral labor and of consumption according to the doxas of the hegemonic segments. In view of the above, the purchase of biographical fragments from readers gave the magazine the opportunity to explore the “place of listening” of its target’s audience so that, imbued with such legitimacy, they could make this publication a “place of listening”, of the doxas defended by the elite. Unlike the Olympians celebrities whose habits and points of view guide the lives of many anonymous people eager to share the gifts of beauty, sporting talents, knowledge and power exercised by such star; to the celebrities whose habits and point of view guide the lives of many anonymous people eager to share the gifts of beauty, sporting talents, knowledge and power exercised by such star; to the celebrities of “Sou mais Eu!” they constituted themselves as Orumayês. In this way, like the Orixás, they used this syncretism, living on the borders between Orum (Heaven) and Ayê (Earth). Thus, from time to time, discreetly, the made themselves visible, exposed their points of view, modus vivendi, their power; making “Sou mais Eu!”, in its own way, a “Place of Listening”.

Esse estudo articula sobre o conto Berenice de Edgar Allan Poe (1809–1849) publicado originalmente em 1835, recorrendo à imagem como orientadora de investigação. Para isso, esta dissertação utiliza como objetos de estudo, o filme francês Bérénice (1954) dirigido por Éric Rohmer e o episódio Berê, da minissérie brasileira Contos do Edgar (2013) dirigida por Pedro Morelli. A personagem dessa história morre e retorna à vida no final da narrativa, configurando-se como um exemplo emblemático de um signo bastante recorrente na obra de Poe, “a mulher bela e morta”. O conto refere-se ainda à ideia de morte e vida após a morte, eternizando o momento do finamento, tema recorrente na obra de Poe, em narrativa poética. Partindo dos estudos literários, foram investigadas as relações da personagem Berenice com a morte, e suas intercessões com os estudos no campo da psicanálise. A partir de outras discussões e leituras  de Poe, foram fornecidas uma análise de Berenice sob a ótica de Sigmund Freud, Marie Bonaparte, Soshana Felman e Jacques Lacan. Paralelamente e como forma complementar aos estudos e questionamentos aqui presentes, trabalhamos com a interdisciplinaridade que essas correntes estabelecem com conceitos de Roland Barthes, Maurice Blanchot, Tzvetan Todorov, Julio Cortázar e Jacques Ranciére, de modo a revisitar reflexões sobre as linguagens do cinema e da tevê. As linguagens cinematográfica e televisiva também foram abordadas conforme as percepções de Marcel Martin, Lotte Eisner e Sergei Eisestein, que forneceram subsídios para a investigação das relações entre literatura, arte e tecnologia.

Bien qu’ils aient connu des redoublements, qu’ils aient systématiquement abandonné l'école dite régulière ou qu’ils n’aient tout simplement pas eu accès à l’école dans l’enfance, pour diverses raisons, les apprenants de l'Éducation des Jeunes et des Adultes (EJA) possèdent des histoires concrètes et positives d'usage du portugais à travers toutes leurs expériences, au sein du milieu scolaire comme en dehors de celui-ci, de par diverses pratiques communautaires. Et nous estimons qu’il est important de se pencher sur leurs savoirs et d’en tenir compte lors de l’élaboration d’un programme d'Éducation des Jeunes et des Adultes. En partant de ces considérations et en tenant compte de la force idéologique qui imprègne les pratiques sociales de littératie en tant que pratiques identitaires, la présente étude vise à connaître la perception que ce genre d’apprenant a des usages quotidiens, de l'enseignement et de l'apprentissage de la langue maternelle, sur la base de l’hypothèse qu’il est capable de fournir des bases de réflexion sur l'enseignement et l'apprentissage du portugais au sein du programme de l'EJA. Pour ce faire, nous avons interviewé des apprenants (âgés de 15 à 24 ans) de ce profil. Sous-tendue par les bases théoriques et épistémologiques de la pensée critique, libératrice et transformatrice de Paulo Freire, par les théories critiques des Nouvelles Littératies et par les techniques de l'Analyse Critique du Discours (ACD), cette étude, de nature ethnographique, cherche à faire valoir la pensée des jeunes ainsi que leur perception de soi en tant que sujets et usagers de la langue, insérés dans des pratiques discursives impliquant des rapports de pouvoir sur les plans idéologique et politique. Les résultats de cette étude constituent des contributions à la conception de plans d'enseignement et d’apprentissage de la langue maternelle qui prennent en compte ces savoirs produits socialement, élargissant ainsi la perception de cette phase de la vie et de sa relation avec les études de l'EJA.

This investigation studied representations of the proofreader in the imagination of the academic-scientific author, based on Michel Pêcheux's theory of Discourse Analysis and its developments in Brazil, with Eni Orlandi. We seek to understand, by analyzing the author's discourse, what this client expects in relation to the services provided, the role and responsibilities of the reviewer. We start from the assumption that, when contracting a textual revision, the academic-scientific author wants a broader intervention than a normative-orthographic-grammatical correction to be carried out. We believe – and we try to show – that this client profile, who writes works in the university environment with a focus on knowledge generation and scientific publication, seeks a partner in the reviewer to help in the construction of a final version of the text. For that, this professional must, in the author's view, interfere in the text at a discursive level - either correcting, realigning and adapting, or rewriting, if necessary -, so that this text can say, in the best possible way, what is being said. proposes. The corpus of analysis was based on the discourse materialized in conversations and exchanges of messages that academic authors established with the reviewer at the time of contracting and during the performance of the review service, through email, WhatsApp or comments in the margins of the text. We seek, in the movement of analysis, to dialogue with the most current theories in editing processes, which approach the reviewer's work not only from the point of view of grammatical correction, but also from a discursive perspective, as part of the editorial activity. We understand, therefore, that the reviewer, in the imagination of the academic-scientific author, is, indeed, that professional who finds and corrects errors and deviations in spelling, grammar and standardization; Beyond this function, however, the reviewer is also a co-enunciator, a co-scribe, a partner with whom the author shares responsibilities and to whom he grants autonomy to intervene in the construction of his text and discourse.

Advertising texts may reach their target audience by argumentation, through verbal and imagetic items which are able to establish all sorts of interactions with the reader. Thus, the language being used can be seen and build up meanings and effects through written texts and others semiotics resources. In this context, the figure of the proofreader arises: the professional who will make sure the verbal text and the image are coherently conveyed, considering the communicative context. He will also ensure the advertising piece is assertive in its entirety – going beyond the briefing or the settled grammar standards. So, the proofreader can act beyond the verbal text and analyze the multimodal as a whole. In this study, we investigated the proofreader’s possible actions when dealing with advertising texts that circulate throughout digital and printed media. The methodology used is qualitative and interpretivist, based on three pillars: corpus research, analysis of the advertising pieces selected considering the theory proposed and presentation of the possible interventions suggested to the proofreader. For the intervention, advertising texts were collected, reviewed and posted on digital and press media by the researcher, in order to select the pieces to be analyzed considering the main goal: to discuss possible ways of acting in the advertising proofreading of texts that circulate in digital and press media, taking into account, beyond grammar aspects, the multimodal whole of its constitution. Besides the theoretical background that focus on analyzing the proofreader performance and the advertising discourse, we consult the studies related to Social Semiotics and multimodality, such as Kress (2003), (2015); Kress and Van Leeuwen (1996), (2001); Ribeiro (2013), (2016), (2020), (2021); Natividade and Pimenta (2009); Gualberto and Kress (2019); Gualberto and Bomfante (2019); and Gualberto and Pimenta (2019). In this study, we aim to socially reflect upon the process of creation, editing and proofreading advertising texts, coming up with the proposal of a review made up of three different stages: grammar and linguistics, imagetics aspects and Social Semiotics and multimodality.

This research is linked to line III - Language, Teaching, Learning and Technology and aimed at reflecting on the formation of the literary reader in basic education through teaching projects. In its essence, it intended to reflect on the application of a project of reading and production of aldravias entitled Aldravilhando, implemented in a public school in Santa Bárbara-MG. Aldravias are synthetic poems, with only six univocabular verses. They dispense the rhymes, graphic punctuation, and metrics, making use of metonymies and keep the focus on the discourse and on the reader’s construction of meaning. The key question that guided the research was: how can a teaching project focused on the reading and production of aldravias contribute to the formation of literary readers? The hypothesis underlying the research is that pedagogical mediation by means of the aldravias can contribute to the formation of the literary reader. We proposed the construction of a theoretical and methodological frame of reference that allowed us to understand the importance of literature and literacy for the formation of the reader. In order to carry out this study, we first of all conducted a bibliographic review, with the purpose of outlining a panorama of research carried out in the field of literacy and studies on aldravias. Then, we sought to reflect on these themes in the light of authors such as Candido (1995), Barthes (1995, 1996, 2003), Compagnon (2009), Soares (2002, 2004, 2006, 2009), Cosson (2011, 2018, 2019), Leal (2013), and Donadon-Leal (2001, 2002, 2003, 2009, 2010, 2012, 2018). The research methodology used is of a qualitative nature, based on the analysis of the stages and didactic sequences developed during a reading project, in addition to the didactic-pedagogical resources, results, and publications achieved with the project. Research with this approach is justified because little is known yet about the use of aldravias in the reader education environment. Furthermore, the development of literacy through teaching projects, with emphasis on the student's protagonism, pedagogical mediation, and the participation of the school community in the teaching and learning process, is of great importance. The results achieved through the cataloging of data from the Aldravilhando project showed that there were contributions from this pedagogical practice both for the development of literacy and for the humanization process in basic education students of a municipal public school.

In this study, we seek to understand the current context of language and communications from the configurations of the digital world. Mainly, we consider the prevalence of the visual in this historical moment, configuring a new “writing”, in which the alphanumeric paradigm starts to share space with another more complex and hybrid format. For this purpose, we used the multimodal genre Scientific Dissemination video on YouTube as an object of research. Our theoretical framework goes through Flusser's considerations about the future of writing, through Jenkins' considerations about the culture of convergence, and culminates in analyses based on Sociosemiotics and Visual Design Grammar, by Kress and Van Leeuwen. From the analysis of two Brazilian channels of Scientific Dissemination on YouTube (Nunca vi 1 cientista and Arqueologia pelo mundo), we seek to understand how meanings are constructed in these multimodal productions, especially considering the interactional metafunction. The survey points to the relevance of using visual strategies, such as framing, images and visual texts, capable of facilitating understanding and creating engagement with the viewer, in addition to the use of face-to-face communication resources, such as gestures and facial expressions. It is also undeniable the importance of technical knowledge related to the production, editing and distribution of the material by the scientists who has led the studied channels, contradicting the commonly vaunted idea regarding the facilities of using and the democratic role of digital tools. Likewise, regarding to the general public, the expansion of these communicative forms has not been accompanied by satisfactory digital literacy or effective democratization policies. Thus, in times of denialism and fake news, the facilitating strategies adopted by the scientists of the corpus investigated in this study point to a possible direction to bring scientific knowledge closer to the people.

The present thesis is studies, through the perspective of Literary and Cultural Criticism,
an example of peripheral body expressiveness: the dance of Cia. Fusion de Danças
Urbanas, from Belo Horizonte, Brazil. Founded in 2002 and turned professional in
2009, the company defies traditional notions of identity and proposes the construction
of memorialist and achival discourses based on corporeal expressions organized through
diasporic bonds which, in a great manner, distance themselves from the imagined
communities built with geographic frontiers. Using the language of Urban Dances,
element of Hip Hop Culture, the group promotes reflection and a potent aesthetic
experience regarding memory, identity and culture, reorganizing such notions prom a
peripheral perspective. In this study, two performances by the group are thoroughly
analyzed: “Quando efé” (2014), which is here defined as a “Dancearchive”, as it is a
sort of danced archive of peripheral culture associated with collective memory; and “Pai
contra mãe” (2016), inspired by a short-story written by Machado de Assis which
reflects on the memory of slavery and proposes a reorganization of it, based on the
viewpoint and the will of potency of the oppressed. The analysis of such performances
promotes a reflection on past, present and future, redefining the place of peripheral
expressivity and its relations with traditional history and literature.

A partir de la teoría inacabada de Walter Benjamin sobre los personajes políticos en la obra de Bertolt Brecht, presente en el texto “Bert Brecht”, propongo una lectura, con foco en el teatro político brasileño que intenta dar continuidad a ese pensamiento. En un primer momento, debido a la aproximación con la forma de hacer teatro brechtiano, parto de la dramaturgia de Augusto Boal anterior al golpe de Estado militar en Brasil, así como su trabajo teórico titulado como Teatro del Oprimido, para reflexionarcomo esta literatura puede generar personajes políticos ordinarios, o sea, que aun siendo distanciados de las instituciones de poder, son capaces de desencadenar acciones políticas significativas en sus comunidades promoviendo, de esta forma, cambios sustanciales en el cotidiano colectivo. En seguida, hago una lectura de diversas dramaturgias contemporáneas, con un recorte orientado para el teatro negro que, a la misma vez, no son constructivas de personajes políticos ordinarios que se valen de la postura activista para inscribirse, en dirección contraria, en la historia brasileña. De este modo, parto de la premisa del teatrocomo un género público, y portanto, asambleario, sugiriendo que, a partir de él y de su capacidad de alcance, es posible promover una imaginación emancipadora que compite y tensiona, discursivamente, con los poderes institucionales que son responsables por generar un patrón en las narrativas históricas brasileñas, como fue, por ejemplo, la disertación de Karl von Martius presentada en el Instituto Histórico y Geográfico Brasileño (IHGB) titulada Cómo se debe escribir la Historia de Brasil.

La investigación propuesta tiene como pilares los Estudios de Lenguajes y los Estudios Migratorios. Con respecto a los lenguajes, el contexto es el Portugués como Lengua de Acogida (PLAc), una modalidad de enseñanza y aprendizaje de lengua no materna destinada a migrantes desplazados forzados. El objetivo es analizar las experiencias de dos ex-apátridas en Brasil durante sus trayectos migratorios (Forlot, 2008), en especial sobre la exposición y aprendizaje de la lengua portuguesa y como estos factores influenciaron en su integración no Brasil. Para esto, recurrí a las teorías da Sociología da Migración (Spreafico, 2009), de las políticas lingüísticas que involucran elPLAc (Grosso, 2010; Camargo, 2019), de los discursos mediáticos (Charaudeau, 2012). Una vez que no era posible comprender los procesos de enseñanza y aprendizaje sin comprender lo que significa la apatridia, fue necesario desarrollar los análisis con base en (Claro, 2015) y (Foucault, 2008). La metodología aplicada fue a partir de la selección de datos iniciada con la investigación de (Costa, Silva, Mamo, 2019), además de la selección de narrativas mediáticas de las participantes, de notas de campo, de normativas relativas al tema (Convención sobre o Estatuto de los Apátridas de 1954, Convención para Reducir los Casos de Apatridia de 1961, Ley 13.445 de 2017, Ley de Migración Brasileña) y de categorización de las experiencias de aprendizaje de las participantes (Miccoli, Bambirra e Vianini, 2020). Los resultados parciales indican que la ausencia de fuertes lazos seculares establecidos entre o Brasil y la República de Siria no resultarían posibilidades del inicio de un acontecimiento discursivo nuevo o resucitado, como el discurso apátrida en Brasil por medio de la presencia y lucha por pertenencia de las participantes en el país. Además, y en especial sobre as experiencias lingüísticas al aprender la lengua mayoritaria brasileña, el portugués, los análisis indican que fueron atravesadas por momentos positivos y otros verticales, como la imposición de la comprobación dela competencia en portugués únicamente por medio del examen Celpe-Bras. Sin la realización de un preparatorio realizado en 2018 en un curso de PLAc, sin haber hecho el examen y comprobada la competencia, habría otra laguna en la integración de las participantes, indiscutiblemente la más importante, la no obtención de la nacionalidad brasileña.

According to Sociocultural theory, human development emerges from a dialectical interaction between man and context (LANTOLF, 2000). Although the traditional locus of learning is the language classroom, it also takes place, in a great variety of ways, out of institutional walls. One of them is through affiliation to imagined communities. This study aims to explain how such affiliations influence the learning of English as a foreign language in the southeast of Brazil. The theoretical framework orienting data generation and analysis encompasses the following constructs: (1) identity and investment within Norton’s perspective (1995, 2000; 2013; 2017; 2019), (2) motivation and vision according to Dörnyei (2005; 2019; 2017; 2019), Dörnyei and Ryan (2015), and Dörnyei and Kubanyiova (2014); (3) Wenger’s (1998; 2009) proposal of affiliation to imagined communities revisited by Norton (2013; 2015); and (4) the concept of successful language learning defended by Arruda (2014). This is an applied research, formatted as an exploratory Case Study. Undergraduate students taking Letters at a state university participated providing oral narratives of their successful English learning experiences permeated by affiliations to imagined communities. Only the experience of one student was analyzed, due to the richness of her reports and considering the purpose of this research. The analysis of her narrative started from the understanding of her affiliations to Imagined Communities (MACMILLAN; CHAVIS, 1986; RYAN, 2006), so that it was possible to understand her successful learning (ARRUDA, 2014), as well as her motivation (ZANOTELI; BAMBIRRA 2019). The results confirmed affiliations to Imagined Communities regarding TV series, music and the status of being an immigrant in the United States, as well as documented their pedagogical strength to learn English as a foreign language.

This research analyzes 18 advertisements referring to the commemorative dates: Father’s Day, Mother's Day, and Christmas during the period 2013-2018, the interrelationship between verbal and non-verbal language in the constitution of discursive representations of the Brazilian family in advertising pieces. To verify this verbal-visual texture, I used two strands of Discourse Analysis: Kress's Grammar of Visual Design; Van Leeuwen and Charaudeau's Semiolinguistics, aiming to understand how verbal-visual semiosis builds identities, creates power relations, spreads ideologies, beliefs and values. I tried to identify in the advertisements and in the publicity contract the relational interaction of the verbal and visual semiosis that originate the power relations, build identities, and spreads ideologies, beliefs and values. For the analysis of the corpus, I followed the methodological procedures of the theory adopted to observe how the family arrangements far from the traditional are being conveyed by television advertisements. The data revealed that the intertwining between verbal and visual languages occurs in a strategically planned way in all advertisements, to take advantage of the significant benefits of each semiosis and the junction between the two languages to convince and seduce the target audience. The analysis of the discursive practice revealed that the different families are represented by an articulation interested in protective, responsible, affective and emotional and financial, competence discourses, positioning them as beneficiaries in the acquisition of the most diverse products. The conveyed family is always represented in a positive and replicating way of a model considered ideal heteronormative, even when portraying other relationships. It also revealed that the participation of different family arrangements in television advertisements is broadcast a timidly , within the most accepted and socially approved representations, supporting the encouragement of consumerist attitudes. The results demonstrated the importance of the image for the use of persuasion strategies and semiotic resources to create a certain intimacy with the viewer so that he can identify with the narrative.

The proposed research has as its theme to situate the editor's place in the comic book editing process in Brazil. Its goal is to identify this professional and how they are inserted in the production of a comic in different publishers, which I have preliminarily subdivided into two types: those that publish national comics and independent self-published. The editors' cut prevailed for those who work in Brazilian publishing houses. Objectively, I contextualized the history of comic book publishers in Brazil up to the year 2000 and did a survey of the existing ones in activity after that year. Through a cataloging, I located the current scene of the comics market; I discussed the profile of the main figures around the production of a book (author and editor) to understand the insertion of comics in this format. Lastly, I analyzed the profile of the editor and their role within the editorial processes. Analyzing the editing processes is, above all, knowing the role of the editor, who defines the direction of a publication. With this in mind, I chose national publishers that have great prominence in the market with productions of graphic novels. Sidney Gusman, from Mauricio de Sousa Produções; Daniel Lopes, Alexandre Callari, from Pipoca e Nanquim and Wagner Willian, from Texugo. About them, I analyzed the profiles of each one in the market and the performance in the editorial process of a comic book. The contextualization of the publishers' historical trajectory allowed us to point out the development of the comics market in Brazil, passing through those that contributed to the insertion of the niche in the country until the present day. The bibliographies that supported the study of comics in Brazil were from researchers such as Álvaro de Moya, Moacy Cirne, Sonia Luyten, Waldomiro Vergueiro, Paulo Ramos, Nobu Chinen, Antonio Cagnin, José Marques de Melo. To understand the discussion about the concept and language of comics, the authors researched were Barbara Postema, Will Eisner, Scott McCloud and Thierry Groensteen. Regarding the editing field, I sought to establish a dialogue with the ninth art through the discussions exposed by Ana Elisa Ribeiro, José Muniz Jr, Gérard Genette and Roger Chartier. The analysis of the interviews was a fundamental step to answer the central question: how the editor can define the performance of the publisher and its placement in the market, considering the choices they make throughout the project until the results that the publications launched have achieved. Finally, the theoretical reflection on editing and comics helped to understand the processes that involve a comic book publication in the book market. The analysis of the interviews pointed out the elements of the professional's performance and their role within the editorial process that contribute to outlining the publication and placement of the publisher in the book market.

This thesis has as its guiding theme the teaching of Portuguese as a Host Language - PLAc for the forced migrant community in Brazil. The general objective of the research was to investigate and understand how PLAc teaching has been planned and implemented in the Brazilian context and, specifically, in the context of the Federal District, and to elaborate a political and pedagogical guidebook for PLAc teaching in the Brazilian context. We selected, as an object of study, the Research Project: Education and Culture for indigenous, refugee and Haitian immigrants in the Federal District, institutionalized at the University of Brasília. For its development, we place our study in the qualitative approach and in Critical Applied Linguistics (Pennycook, 2008; Moita Lopes, 2008), as we conceive linguistics in an interdisciplinary, transgressive, critical perspective, concerned with social change. We adopted other theoretical concepts, found in the history of language teaching approaches and methodologies in Brazil (Cunha, 2007; Ramos, 2017, 2021; Almeida Filho, 2011, 2015), in the study of educational planning (Almeida Filho, 1997; Vasconcellos, 2015). 2007), in addition to studies on public policy planning (Calvet, 2007; Lima, 2019; Santos, 2016). Methodologically, we adopted analysis categories from Content Analysis (Bardin, 2016). The corpus of this study is composed of three moments: the first, called Scientific Productions of the Project: projections on planning and practice, was carried out from readings of scientific publications that have the project studied here as an object of research; the second, called Activity Reports: representations of planning and practice, was carried out from the analysis of the project activity reports; and the third, called Questionnaires applied to the participants and exparticipants of the project, carried out from the analysis of the questionnaires. After generating and analyzing the corpus, we found the main results: i) the teaching approaches compatible with the teaching of PLAc are the Host Language Approach, the Communicative Approach, the Sociointeractional Approach and the Critical Pedagogy; ii) the political dimension indicates an alignment with the promotion of an inclusive public policy, which aims at the insertion and integration of the forced migrant community in the local society; the pedagogical dimension indicates the adoption of teaching methodologies committed to interculturality, interdisciplinarity, flexibility and collaborative learning, with the teacher being an interlocutor, inserted in a context of constant dialogue and active listening; the community and administrative dimension indicates a teaching management that prioritizes collaborative work and democratic management; and iii) the identified Framework reinforces the project's commitment to the Host Language approach, and all analyzes demonstrated that project participants and ex-participants are aware of this commitment. This work intends, in short, to contribute to the processes of elaboration of the PLAc teaching planning in the Brazilian context through the Political and Pedagogical Guidance Notebook for the teaching of PLAc in the Brazilian context, made available in this thesis.

Currently, the book has become just one of the supports of literary art, one of its possible horizons, as shown by Hayles (2009). The notion of book expanded and, from the old cultural guerrilla with massive media such as television, digital culture promoted a more effective adhesion of screens as supports for writing and reading. Based on these practices, it can be said that, not very peacefully, literature has admitted the transit between the verbal and the non-verbal, just as in the context of digital poetics, animation and sound are incorporated into the creative language. In this thesis, considering the printed and digital works of Álvaro Andrade Garcia, it is intended to discuss the impact of these technological writings on the reading processes, as well as to understand how the rereading work has become a creative strategy for the author. To develop it, we carried out a study on the reconfigurations of books and reading in the context of the transformations in communication technologies driven by the digital. When reflecting on the author's poetic production, we seek to analyze the relationship between his printed and digital works, through which we realize that rereading is one of the strategies for composing his digital versions. In this sense, there is an important dialogue about the creation processes, as the text destined for the printed book is appropriated and recombined in new textual textures, constituting a form of permanent rereading and rewriting of the work itself. Rereading is, therefore, also a way of translating the media's impositions, expressing the critical and aesthetic awareness of the poem's languages. Reading, in this technological context, means more than translating the perceptions of the world that the literary text offers us. It also means apprehending the languages of this sign writing established by the digital, through which the reader or interactor intuits the world provided by the poet. It is a reading against the grain of languages and enjoying the flow of languages. This perception is evident throughout this study, in which issues relating to the structure and authorship of the text and the use of the Managana software in the remediation processes of their books from print to digital were also analyzed. In addition to reading Álvaro Andrade Garcia's own texts, we discuss the issues of books and reading with the support of theoretical references by Michel Melot (2012), Roger Chartier (1996, 1999, 2004, 2006, 2008, 2010), Umberto Eco (1994, 1996, 2005, 2008), Robert Scholes (1989), as well as, for outlining the digital and the semiotic implications of reading, texts by Pedro Barbosa (1996, 2012), Lucia Santaella (2001), Alckmar Luiz dos Santos (2003), Rui Torres (2004), Marjorie Perloff (2013), Katherine Hayles (2009), Henry Jenkis (2013) and Bolter and Grusin (2000). The thesis has the central objective of discussing the reading/rereading process from the processes observed in Garcia's own work, however, it is possible to contribute with this analysis to a reflection on digital reading, as well as to the problematization of the book in this context.

This thesis aims to study the creative adaptation of the films The grapes of wrath (1940), by John Ford, Hour of the star (1985), by Suzana Amaral, and No country for old men (2007), by Ethan and Joel Coen, respectively based on the texts The grapes of wrath (1939), by John Steinbeck, The hour of the star (1977), by Clarice Lispector, and No country for old men (2005), by Cormac McCarthy. This will be through the bias of concepts such as “impure cinema”, by André Bazin, and “creation”, by Gilles Deleuze, as well as other concepts worked by the philosopher Friedrich Nietsche, by Deleuze in his partnership with Félix Guattari, by Roland Barthes and Umberto Eco. The intention will be to think about these cinematographic works through a look that observes the films as creations that are supported by the literary material in which they were inspired, but that become independent within another art, in this case the cinema, and gain other layers of meanings in their allegorical meanings when they think, violating the thought of their spectator, the violent world of capital.

This research investigates self-publishing and the advent of digital technologies in the Brazilian
publishing market, focusing on self-published authors and their discursive projection of
themselves. Self-publishing is the act of authors publishing their book or other editorial product
independently, in response to their own demand, with or without the assistance of a professional
publisher or self-publishing platform, and with no financial risk to the hired company
(ARAÚJO, 2011; 2013; MÜLLER, 2017; JESUS, BLOTTA, 2018; JESUS, 2017; 2020;
VECCHIO, 2020a; 2020b). Since the publishing market is permeated by sociocultural
imaginaries that reinforce the stereotype of self-published authors as a less valuable
professional because their publications have not gone through the endorsement of a
conventional publisher/editor, we understand that this is a professional who has been made
invisible. Thus, this research uses the French Discourse Analysis to investigate a set of
interviews made with authors of fiction and poetry self-published in platforms available in
Brazil. As a methodology, it was proposed the integration of qualitative and quantitative
methods of data collection and analysis through a triangulation of research techniques, namely:
a) document analysis; b) semi-structured questionnaire; c) in-depth interviews. In the document
analysis, we consider as corpus the contracts of digital self-publishing platforms with selfpublished authors. The interviews were carried out in two phases: PHASE 1 – an online semistructured questionnaire applied to a sample of authors within the desired profile to map the
category in Brazil; and PHASE 2 – a limited number of in-depth interviews, collected and
analyzed with techniques from the theory of narratives of the self (ARFUCH, 2010;
BERTAUX, 2006) in order to observe the interviewees' self-projection and the way in which
the socio-discursive imaginaries from the publishing market and platforms are manifested in
their speeches. The research is supported by contemporary theories of Publishing, Philosophy
of Technology, and studies on Platform Capitalism (SRNICEK, 2016). The analysis of the
contracts revealed that there are indices of precarious work in the relationship between
platforms and authors, reflecting platformization of work and cultural production. Regarding
the authors, the interviewees’ self-projections reveals, among others, the following profiles: a)
authors who have no experience in the publishing market and fit the clientelist profile described
by Müller (2017), b) authors who submit themselves to the algorithmic logics of platforms and
produce contingent cultural commodity (POELL, NIEBORG, 2018); and c) authors who
demonstrate a critical view of themselves, their function as an independent author, the role
played by the platform within the publishing market and who appropriate technology in their
favor in order to achieve a human achievement which here we argue is fundamental for many
men and women across the world and throughout history: the right to publish. As a result of the
research, in order to contribute to a better understanding of digital self-publishing in Brazil and
its consequences for the future of the publishing field, we propose and complement three
conceptions: 1) Fast-publishing, the model in which platform capitalism manifests in the
publishing market and literature; 2) Platform Collectivism, a side effect not foreseen by the
current phase of technology development and which is based on its appropriation and possible
subversion by its users; and 3) the Author-editor, the current profile of a professional who
becomes an editor in practice due to his/her role as a self-published author.

The recent current of socio-internationalist thought revokes the teaching of Languages, Codes and their technologies as a real issue, and not ideal. Subjects who learn then come to be seen as social and cultural beings, in constant interaction with digital information technologies. Post-modern theories, such as the philosophy of Deleuze and Guattari, with the deconstructive bias, corroborate precisely the role of an interdisciplinary, social, cultural and interactionist education –because they move away from an idealistic posture of teaching and learning, a posture that has no more place in a context plotted by globalization and information technology – an event that increasingly dissolves geographical and even social barriers. This is how the philosophy of Deleuze and Guattari has brought a necessary and unavoidable reflection to education, teaching and languages. The new teaching reality that is imposed brings with it the need to rethink the way we analyze the language and its artistic-cultural manifestations, increasingly far from being accommodated in solid molds of curricular contents. If it was possible to materialize this reading in a doctoral thesis, it is because the accommodation of literary texts in lines of time and literary schools are pedagogical errors that reduce the power of literary texts and reduce to a minimum the collaboration of literature with reflection on the use of language. language – something that should be paramount in teaching literature. If Rosa's literature combines so well with Philosophy, ever since researchers proposed to establish relationships between Rosa's writing and metaphysics, it is now necessary to continue the scientism that these contributions generated, updating such relationships according to more pedagogical proposals. innovative. It is believed that the work with the literary text should also promote multiliteracy and multimodality, since technology is impregnated in the discursive processes.In this thesis, we corroborate the immanent reading, always seeking to deconstruct and reconstruct the old metaphysical dichotomies that for a long time supported scientific research on the work of Guimarães Rosa. In addition, we focus on the task of rethinking Rose's regionalism, seeking to weave a new collaboration for this theme. We also focused on the linguistic analysis of neologisms and syntactic inversions as forms of artistic-literary creation that account for the variationist approach in the context of literature. Finally, we enter the technology of cinema, highlighting the role of cinema as the Seventh Art that popularized literature through film adaptations. Cinema is a language that reproduces movements, sounds and images. Film adaptation materializes literary criticism. It is not the literary text, but the reading of the text mediated by cinematographic technology and the authors' dramatization; the language of cinema enhances the language of the literary text, corroborating multimodality and multiliteracy. In this sense, we recommend film adaptation as a complementary pedagogical instrument to the teaching of literature.

This research has as its theme the role of Marginal-Peripheral-Contemporary Literature of the Saraus and Slams of Belo Horizonte in the formation of young readers and writers through poetic performances, which can be understood as practices of Literary Literacy of Reexistence. The Marginal-Peripheral Literature Movement of the Saraus e Slams de São Paulo expands in the 2000s to other urban centers in Brazil. Coletivoz Sarau de Periferia (2008) and Poetry Slam Clube da Luta (2014) are the precursors of these contemporary literatures from the periphery of Belo Horizonte and the scene of Minas Gerais. For 13 years, Sarau Coletivoz, Slam Clube da Luta and other soiree/slam collectives have mobilized a significant audience of young people and adults for their events, actions and poetic performances in non-institutionalized spaces on the street: bars, squares, corners, subway stations. This literary-cultural phenomenon, which circulates mainly through oral performance, contradicts the statistical scenario of low performance of young people's reading and writing practices in national and international exams, since it has conquered, in the urban environment, many young readers and writers. Faced with this reality, there was a need to understand the relationship between orality and writing in contemporary poetic practices, which led this research to formulate the general objective of investigating the Marginal-Peripheral-Contemporary Literature of the Saraus and Slams of Belo Horizonte in the formation of young readers and writers through poetic performances, practices and unschooled actions of Literary Literacy of Reexistence. Therefore, methodologically, an approach inspired by ethnography was developed, associated with the intersemiotic analysis of poetic performances, of Peripheral Literature in two interpretivist communities, one in the periphery and another in the center of the city. The theoretical framework runs through, and is influenced by, the concepts/categories of Literary Literacy of Reexistence/Reader Training (SOUZA, 2011; ROJO, 2009; PAULINO, 2004; COSSON, 2016); the Marginal-Peripheral Literature of Saraus/Slams (WALTY, 2014; OLIVEIRA JR., 2016; TENNINA, 2017; COELHO, 2017); Literary System/Field (CANDIDO, 2000; BOURDIEU, 1996), Contemporary Brazilian Literature (SCHOLLHAMMER, 2009; DALCASTAGNÈ, 2012; ROCHA, 2015; RESENDE, 2017); Ethnography and Urban Anthropology (GEERTZ, 2008; MAGNANI, 2007), of Poetic Performance and Oraliture (ZUMTHOR, 2014; MARTINS, 2021). The results identify that the Movement of Peripheral Literature of Saraus and Slams can be configured as an Agency of Literary Multiliteracies and its poet-performers as Agents of Literacy of Reexistence, forming many young and adult readers and writers in non-school spaces and also, transiting through institutional spaces of the education and culture systems.

The purpose of this paper is to understand how socio-discursive imaginaries are constructed in songs written by women, considering mainly the ways of organizing discourse, present in Patrick Charaudeau's semiolinguistic theory. The relevance of this theme is consequential to the limitations imposed on women's participation as composers by the phonographic industry. In addition to being silenced and erased from historiography until the 1940s, women are almost always associated with lyrical-loving productions, which makes it seem that their interests are restricted to this area. In order to understand the production conditions of this discursive set, we resorted to the contributions of feminist analysis, supported by the studies of Del Priore (2021), Saffioti, as well as the studies of Stuart Hall (2016) on representation, discourse and identity. Other references in the reviewal of Brazilian music, especially on the condition of women in the musical context, complete the essential list for understanding music as a sociocultural phenomenon, as are the cases of Santa Cruz (1992), Murgel (2017), Pillar, among others. To choose the composers, it was used the criteria contained in the MPB Mulher catalog (2006): a) originality and aesthetic quality; b) size and extent of production; c) permanence in the market; d) historical relevance. Due to the limitation of the period covered by the catalogue, with a single edition published in 2006, the criterion of nomination or award at the Latin Grammy was added for composers presented after that period. For analysis, songs produced between the 1970s and 2020s were selected, which deal with themes related to the body, love, human and socioeconomic relationships and are written only by the female enunciators. Thus, it was observed that even in compositions with lyrical-loving themes, linguistic-discursive strategies in the re-elaboration of social imaginaries are noticeable, which can raise those themes to a political level of discussion, in which women can be the subject of their claims and subjectivities.

This research tried to understand some faces of a growing movement in Brasil and abroad, especially among black women: acceptance their crimped or curly hair. For that, we needed to think over possible imaginary sociodiscursive built over the aforementioned types of hair. Our aim was to comprehend the historical, sociological and cultural reasons which, throughout many years, made black women deny their hairstyle and smooth it using chemical products and on the other hand what took them to assume a natural perspective. We also want to highlight the linguistic, discursive and rhetorical elements that shows why they did accept some African characteristics, among them, their curly hair. The corpus of this thesis is made of eight e-mails written by women who have been or were through the process of hair transitioning. These are stories sent to a blog during a cultural contest promoted by a beauty parlor. The contest was looking for the most impactful stories that would win a haircut, a hair treatment, a makeup production and a professional photo. Through their testimonials, we researched the senses produced by these women and how they help (re)building their identity. This analysis has been done considering: i) understand how the brazilian beauty patterns were built, besides thinking over racism and feminism using concepts from Nilma Lino Gomes (2008), Djamila Ribeiro (2018), Grada Kilomba (2019), Amanda Braga (2015), Joyce Berth (2019), Márcia Tiburi (2018), bell hooks (2019), Carla Cristina Garcia (2015), Chimamanda Ngozi Adichie (2015), Vilma Piedade (2017), Schuma Schumaher e Érico Vital Brazil (2013), Silvio Almeida (2018), Rafael Guerreiro Osorio (2003), Kabengele Munanga (2003), Frantz Fanon (2008), among others. ii) we dwelled over the corpus from references that came from text and speech studies, mainly, using the concepts of life narrative and other that came from authors such as Patrick Charaudeau (2007), Dominique Maingueneau (2011) and Ruth Amossy (2005), Ida Lúcia Machado (2016), Leonor Arfuch (2010), Émile Benveniste (1991) and Stuart Hall (2006). Overall the analysis showed that the process of smoothing these women´s hair, that were traditionally curly or crimped, was a natural condition imposed to black women so that they could feel part of a society in which the beauty pattern is guided by eurocentric characteristics. We also noticed that the capillary transition, far from being an easy process, configures itself as a political movement of rebuilding their identity and self-affirmation.

Starting from the interpretation of Manoel de Barros' poetic production, this work seeks to read the silence, the images, and the useless in the work of this poet. For this, we will start from an approximation of such elements as a line of force to read his poems. Thus, having this objective as a driver of work, we will seek to analyze how the elements mentioned are present in the work of Manoel de Barros. In order to make it possible to better contemplate them, several fragments of the work of the aforementioned poet were selected, which are highlighted throughout the work. We wil resort, in particular, to the philosophers Maurice Blanchot and Roland Barthes to think about silence and some concepts that approach here as nothingness, emptiness, absence, and neutrality. Later, we will establish a dialogue between the philosopher Didi-Huberman and the poet Manoel de Barros to reflect on a reassembled, transitory image and that of the trapeze poet. Still using mainly Didi-Huberman, but in every text making the movement to invite other thinkers, we will verify the presence of the useless in the work of Manoel de Barros. Therefore, starting from articulation between silence, image, and uselessness, we will approach the literary project of the poet from Mato Grosso.

This documentary work’s goal is to analyze the magazine Ciência Popular as a scientific divulgation speech, which has as case study the approach of supernatural themes. This brazilian periodic was published in the post Second World War period, between 1948 and 1960. The research counts with Ciência Popular’s collections available at Historical Library of the State Public Library of Minas Gerais and Faculty of Education of the Federal University of Minas Gerais, in Belo Horizonte, MG. This dissertation's first step is the study of scientific divulgation's concept and the action field's contextualization in the post War’s period. Furthermore, the general features of Popular Science are studied, and also the connection between graphic aspects and how they convey the editorial speech, seeing that visual elements are not considered isolated towards the speech. To delineate the period, the release editorial (n. 1, Oct. 1948) will be discursively analyze according to Eni Orlandi's theory (2013), in order to understand the magazine as a scientific divulgation object, in accordance with the proposition exposed by general-director Ary Maurell Lobo. Later, by the concepts related to “communication situation” and the organization ways of “enunciative” and “argumentative” speechs, presented by Patrick Charaudeau (2010), aims to study the producted effects about supernatural approach by speech analysis, through texts sellection of Popular Science's magazine.

This research is based on the analysys of the conversations mediated by photography, by moving images and by the singing on Eduardo Coutinho’s documentary, highlighting the different body engagements of the character related with the other on-scene materialities.We present the constitution of what is called cinema of conversation on Coutinho’s work, resorting to the concept of conversation as the tracing of a becoming, from Gilles Deleuze and Claire Parnet on A Conversation: What is it? What is it for? pointing outsome convergences between the concepts of conversation of the director and the philosopher, outlining the lines that compose the director’s style: the tendency to minimalism in what concerns to the elimination of elements in the cinematographic language considered unnecessary, centering the forces of the movie around the encounter and conversation; affirmation of the charm in the story-teller character and the minor use they make of the language; the joy of the encounter on the part of the director and the characters; and the care established in both filming and assembly, components that flee from the basic question-and-answer structure on a standard interview of the traditional documentary. When the subjects of the movie, photography or the singing body are added up to the on-scene conversation, we see that the interviewer/intervewee binarism becomes fuzzy, blurred, eventually, the idea of authorship, as the other binarisms chairing the distribution of roles that structure and reassure on the classical interview shape. We emphasized scenes of conversations on the following director’s documentaries: Cabra Marcado Para Morrer (1984), Boca do Lixo (1993), Peões (2004) e As Canções (2011); without failing to mention, nonetheless, moments in Babilônia 2000 (2000), Edifício Master (2002) e O Fim e o Princípio (2005).

La literatura para niños en Brasil ha tenido históricamente un estatus inferior a otras literaturas, lo que puede explicarse por su aparición tardía y estrechamente vinculada al campo pedagógico. El concepto de “independencia editorial”, a su vez, revela más cuestionamientos que definiciones precisas. La inexactitud del término “independiente”, así como su apropiación como estrategia para pertenecer a un segmento atractivo, contribuyen a su propia deslegitimación. Las reflexiones iniciales se desarrollaron en preguntas: ¿Cómo es la relación entre las producciones editoriales independientes y los libros literarios para niños en Brasil? ¿Cuáles son las particularidades del panorama editorial en Belo Horizonte, capital de Minas Gerais, el segundo estado más poblado del país? En este trabajo investigamos los elementos que constituyen la autonomía del subcampo independiente de libros literarios para niños en Belo Horizonte. Utilizamos los conceptos de campo presentes en Bourdieu (1996, 2004, 2006) y Thompson (2013) para presentar un panorama histórico del subcampo editorial independiente en América Latina — basadas en Warth (2005), Barcellos (2006), Muniz Jr. (2010, 2016, 2017), Szpilbarg y Saferstein (2012), Lopéz Winne y Malumian (2016), Oliveira (2017), Amaral (2017), Coutinho (2017), Gomes (2018), Magalhães (2018), Ribeiro (2018), Schierloh (2019) y Coutinho (2020) — y del subcampo de libros literarios para niños en Brasil y, específicamente, en Minas Gerais, desde la obra de Carvalho (1993), Oliveira (2000), Arroyo (2010), Hunt (2010), D’Almeida (2011), Federman et al. (2011), Matarelli (2011), Lajolo y Zilberman (2017), Farias y Fernandes (2019), Pinheiro (2018), Ribeiro y Vinícius (2019), Tolentino (2020) y Barbosa (2021, en prensa). Realizamos entrevistas con los responsables de cuatro editoriales de Belo Horizonte que publican libros literarios para niños y frecuentan ferias de publicaciones independientes en la capital de Minas Gerais: Crivo Editorial, Impressões de Minas, MRN Editora y Mazza Edições. Finalmente, analizamos sus condiciones de funcionamiento y extraemos, a partir de cinco puntos principales, una posible lógica del subcampo en cuestión: 1) el bajo pero creciente grado de codificación de entrada; 2) la búsqueda del equilibrio entre capital económico y simbólico; 3) el desarrollo de proyectos y alianzas; 4) la frecuencia regular a ferias de publicaciones independientes; 5) y la fuerte presencia de "editores conejo", una nueva categoría en la matización metafórica del subcampo.

In this thesis, we propose to analyze Guilherme Mansur’s first editorial project, Poesia Livre, forged by the stamp Fundo de Ouro Preto Tipografia. We will also scrutinize how these project elements will become part of the literary-poetic experimentation pervaded by performance or happenings, called Chuvas de Poesia. We will show Mansur’s adaptation to the digital environment by analyzing photographic experiments published on Instagram from 2017 up to now. We will also analyze the editorial characteristics of Poesia Livre, whose production began in 1977 enduring up to 1985. This publication flourishes as a proposal hooked up in the “Marginal Generation” (Geração Marginal), poetic resistance work of a generation of well-known Brazilian poets. Furthermore, peculiar editorial features distinguish it from most printed works done without rigor by most poets’ movements. Poesia Livre owns its title by a freedom evocation and a wordplay to embrace the most diverse forms of poetry, as can be seen by the historical context of the launching. The youth of its creator, Mansur, then aged 19, created a unique publication with a befitting rhythm, totaling sixteen copies, inspiring several other similar publications and creating a network of connections connecting poets and artists throughout Brazil. In the 1990s Guilherme Mansur started the poetic performances Chuvas de Poesia, which mixes editing and performance, consisting of a radicalization of the assumptions that began with Poesia Livre, elevating the concept of “free” and “freedom” to an even greater power. These performances still take place in the 21st century and unfold into other types of artistic manifestations. We will see some of Mansur’s experiments on Instagram, work with a digital interface which he reinterprets works developed throughout his career, or even creates photographic series as a virtual museum for his photographic collection. Our main goal is analyzing the editorial processes of these three projects, distinguishing their singularities, and also analyzing part of the poetic cartography in Poesia Livre. We also aim to show how the productions presented are connected to a mix of various languages modes: typography, visual arts, performance, and, in his poetry, bits and pieces of the concrete poetics, the poetic movement he is included. Mansur adds baroque elements, giving rise to unique poetics that we call “Barrocobeat” poetry. Poesia Livre presents several poetic productions made by Mansur. In its nine years of existence, Poesia Livre left indelible marks on Mansur’s 

editing work, which was improved, evolving as the typographer-editor-poet (among other denominations) enters our contemporaneity. In addition to analyzing this role played as an editor, the study focuses on the characteristics of Mansur’s poetry, as a poet who, being an excellent typographer, through typographic language, manages to print unique characteristics inherent to his poetics built with movable type, in which the word occupies the axis of the composition of his creations and is always at the center of the work.

This research outlines the panoramic profile of female protagonists in books published by publishing houses aimed at young audiences in order to analyze the representativity of such characters. For this purpose, a corpus of 32 books published between 2010 and 2019 was selected, 14 of them by the publishing house Galera and 18 by Verus, all written by Brazilian women, so that we could understand the contemporary female protagonists. The study was motivated by the low number of investigations that bring together literature for young people, female authorship, and the protagonists of recent works. Thus, the research was undertaken with the aim of investigating who they are, whom and what reality the female protagonists of novels for young people written by women represent. Therefore, the research makes a brief review of the history of youth literature in Brazil until reaching literature for young people, the formation of this reader and the aesthetics of these works and their derivations, such as Young adult, New adult, Crossover, as well as a retrospective of the Chick-lit term, its origin and construction. While the books were being read, the elements analyzed were: 1) the protagonist's name, 2) the protagonist's age, 3) the region where the story takes place, 4) the time of the story, 5) the character's skin color, 6) education, 7) socioeconomic conditions, 8) religion, 9) gender identity and sexual orientation, 10) incidence of professional relationships, 11) incidence of love relationships, 12) incidence of family relationships, 13) friendships/enmities, 14) incidence of sexual relationships, 15) approach of controversial issues such as abortion, mental disorders, suicide, LGBT+ and racial issues. The analysis points to a heterogeneity in the composition of the female protagonists of the two publishing houses, represented by white, heterosexual, middle-class characters, whose narratives are strongly shaped by the affective search, even though the desire for professional and personal conquests is recurrent.

A partir da perspectiva teórica da análise de discurso, estapesquisa teve por objetivo analisar os imaginários produzidos na circulação do discurso governamental “nazismo é de esquerda”. Para tanto, levamos em consideração o discurso que se constitui pela relação da língua, do sujeito e da história para que fosse possível analisar os imaginários produzidos na discursivização do enunciado “nazismo é de esquerda” e os silenciamentos e evidenciamentos que se constituem a partir deste. Analisamos sequências discursivas em que o enunciado chave aparece, seja na sua forma plena seja como sinônimos, a partir de notícias que tem como manchete a fala do Presidente da República, Jair Bolsonaro, afirmando que o nazismo é de esquerda; a partir de comentários realizados sobre o texto intitulado “Pela Aliança Liberal Conservadora” postado pelo Ex-ministro das Relações Exteriores, Ernesto Araújo, em seu blog Metapolítica 17; e a partir de tweets realizados tanto por sujeitos que ocupam a posição discursiva de governo quanto por sujeitos da sociedade em geral que se identificam com a discursivização do enunciado em questão. Com as análises foi possível compreender que as formações imaginárias são produzidas
a partir da formação discursivadominante“extrema-direita” e partem do imaginário da esquerda como imigo potencial e da ameaça do fantasma comunista. Além disso, verificamos que esses imaginários são atravessados pela historicidade que os termos “nazismo” e “esquerda” possuem em condições de produção de grandes embates políticos-ideológicos e produzem evidenciamento dos sentidos que se pretendem naturalizar na língua pela resistência aos já-ditos, à memória e à história, resultando no silenciamento dos sentidos que se quer evitar, que se deseja apagar para que não sejam mais da ordem do dito. Para tanto, as análises foram sustentadas pelos conceitos à luz da Análise do Discurso de vertente francesa (Michel Pêcheux), mobilizando conceitos como
memória discursiva (Pêcheux, 1969, 1988, 2015; Orlandi 2015); evidenciamento (Moreira, 2009, 2020); silenciamento (Orlandi, 2007); sujeito (Pêcheux, 1988; Orlandi, 2015). Além disso, referências teóricas como Mariani (1996) ao tratar do imaginário da ameaça comunista da imprensa sobre o PCB e Indursky (1992, 2013) ao tratar do discurso da ditadura civil-militar no Brasil, que nos permitiram confirmar novos gestos de interpretação do enunciado “nazismo é de esquerda” que são materializados por discursividades como o nome do partido nazista, nome de líderes de regimes ditatoriais e adjetivações que são sustentadas pelas marcas “mal”, “ruim”, “perverso”, “movimento” e “ideologia”.

Esta dissertação propõe uma investigação sobre como o encontro de olhares dos cineastas Wim Wenders (1945–) e Yasujiro Ozu (1903–1963) no filme Tokyo-Ga (1985) pode estar ligado à noção de espacialidade no cinema. São apresentadas as características relacionadas à construção do espaço fílmico nas obras de cada um dos diretores, assim como influências que moldaram a forma como esses dois artistas entendem a linguagem cinematográfica, para finalmente traçar sugestões de leitura sobre o espaço de Tokyo-Ga. Para fundamentar a análise proposta nesta pesquisa, são utilizados principalmente os conceitos de: filme-ensaio, segundo Timothy Corrigan (2011); espaço literário e narração, a partir de Maurice Blanchot (1987; 2005); espaço cinematográfico, de acordo com Marcel Martin (2005); vazio e perda, segundo Roland Barthes (2004; 2007) e Didi-Huberman (1998); e imagem dialética, a partir de Walter Benjamin (2006). Ao final, conclui-se que duas ferramentas são essenciais à construção do espaço em Tokyo-Ga: a narração por voiceover e a montagem com imagens originais e imagens de arquivo. É sugerido que a jornada proporcionada pelo espaço fílmico eleva o potencial reflexivo da obra e, a partir da postura de respeito e aprendizagem do Zen, refletida de diversas formas nas linguagens dos diretores, os espaços autônomos são preenchidos por dualidades e as imagens do vazio podem tornar-se imagens dialéticas.

This research investigated the collaborative creation of memes in multilevel English classrooms. The context is that of the Professional and Technological Education in distance learning format, due to the COVID-19 pandemic. The methodological approach was that of an Interactional Dynamics (DIPAC), under the principles of active learning. This study aims at exploring the possibilities that active learning methodologies, along with an approach based on the collaborative production of various text genres, may bring to the English language learning process in multilevel high school groups. The specific objectives of this study are: 1. To describe the involvement of all students who took part in this research, unattached to their previous knowledge of the target language, through the collaborative production of various text genres supported by active learning methodologies. 2. To analyse the ramifications of the activities in terms of stimulus to students’ motivation, autonomy, collaboration, critical literacy and content production/creation. 3. To discuss and reflect upon the activities, in order to identify possibilities of improvement and implement changes. This study is supported by the theoretical pillars of the multilevel approach and collaborative production of text genres; active learning methodologies and blended learning; collaboration and autonomy through DIPAC. Given the characteristics of the research and due to the data comprised by the corpus, we have chosen to develop na action research of qualitative nature, through a case study perspective. Data was obtained through the teacher’s reflective diaries, students’ posts on Google Classroom and students’ answers to the final evaluation form. As for the results, data analysis has shown that students expressed mostly positive opinions about the activities and in terms of their motivation, autonomy and learning having actually improved, as well as their interaction with each other and the teacher. Opportunities for improvement were also detected, discussed and explored. The teacher-researcher has also reflected on her works’ possible contributions for the general perception society has about teaching and learning English at school.

Considered by the NGO Global Witness as the most dangerous country in the world for environmental activism, Brazil has the highest number of environmentalists murders. Of those, women's battle for expression spaces to disseminate their discourse in environments defense. For centuries, women had their voices silenced and repressed by a patriarchal society, especially in political environments. Currently, women's environmental protagonism is sustained by the internet appropriation, specifically the social networking site Facebook. Even with some obstacles that threaten participation and political deliberation such as inequality of access, censorship and excessive control of networks, the social network sites appropriation by activists can contribute to growthr the reflections and communicative exchanges, transforming behaviors and habits. It is in this space that we study the digital narratives of environmentalists women. Using multiple epistemic-methodological bases, we discuss digital discourses in a constitutive way that qualify all the discursive traits, in order to understand how the construction of those environmentalists narratives on Facebook and how these narratives contribute to the activist expression.

This dissertation presents a multiple case study in favor of reading education. It is based

on a pedagogical approach guided by discourse genres, literary literacy and digital

literacy. The research, aims to investigate the development of reading ability of students

it comes from reading and understanding that they do of classic literary works giving

new meaning in memes, in the light of intersemiotic translation and multissemiotic

literacy. The participants in the research were freshmen students enrolled in Informatics

and Environment courses of the Integrated Technical High School at the Federal

Institute of the Southeast of Minas Gerais – Rio Pomba Campus, in 2018.The

dissertation presents two methodologies: teaching and research . In the teaching phase,

students were detailed on the steps that would be taken during classes. After choosing

the work to be read by each student, a period of thirty days was given for reading the

texts. After the reading, the others stages were accomplished between thirty days to

each new action. They were: The structures literature circle has discussion and notes of

important information - that discussion was accomplished in class during 55 minutes;

b) after, thirty days of deadline was given to write and deliver the summary; c) after, the

seminary about classic literacy works and other note was presented by students; d) after,

a picture that talked the classic literacy works was investigated in web according to

students; e) after, the meme was created based on intertextuality – besides delivering

of memes, there was the oral explaining about selected pictures and created meme; and

f) the last, all activities, genres made and selected picture, was delivered. In the research

methodology, firstly, the student activity analysis, formed by summary and memes

genres and picture was made; secondly, two notes ( literature circle and seminary) were

checked; thirdly, assessment work, formed by assessment teacher and assessment

student were analyzed. At the end, all activities were triangulated in order to observe the

development of the reading skills of the participants. Data analysis was guided by the

qualitative-interpretative approach according to Moita Lopes (1994). The theoretical

framework was based on theories of Discursive Genre according to (BAKHTIN, 1997),

Intersemiotic Translation (PLAZA, 2013), Semiotics (PEIRCE, 2008), Multisemiotic

Literacy (The New London Group, 1996). As a result, it presents a chart with

transcreation criteria and memes interpretation, and the possibility to use the

intersemitotic translation as a pedagogical approach in favor of reading education. The

conclusion invites us to rethink the position of reading practice and actions to encourage

the training of the reader in teaching and learning sphere.

This study aims to investigate the construction of future Portuguese teachers’ professional identities, as well as their relationship with the Social Representations that emerge from this construction in the discourse of  undergraduate students from Universidade do Estado de Minas Gerais – UEMG – located in Divinópolis / MG, who filled in internship reports and answered questionnaires based on their practices. For that purpose, I refer to Bakhtin's (1999) studies on language, polyphony, discourse, voice management; to Mondada and Dubois (2003) and Koch (2003), who deal with referencing and the enunciative mechanisms; also to Hall (2006), Woodward (2000) and Bauman (2004), that discuss the issue of identity; Moscovici (2003), who deals with Social Representations; Matencio (2004) and Kleiman and Martins (2007) among others, that reflect upon linguistics and teacher education. In addition, this research discusses the articulation between theory and practice, departing from theoretical positions about teacher education, defended by authors such as Freire (1999), Nóvoa (2009), Tardif (2014), among others. The construction of the interlocutive game in reports and questionnaires is analyzed, taking into account the assumption of social, communicative and personal roles and the delimitation of the discursive purpose(s), identifying and analytically describing the enunciative mechanisms and their effects on the discursive plots’ composition present in the internship reports. In addition, the Social Representations about the teachers' conceptions taken from the Supervised Internship is identified through recurrences of linguistic aspects. Also, the construction of the representations observed in the students' discourses materialized in the reports and questionnaires is described and analyzed. Considering the materiality of the data and theoretical-methodological principles adopted, this research has characteristics of the constructivist paradigm. It is interpretative and qualitative, once my interest is not limited to what enunciators say, but also to the manner they say it. This study consists of a documental analysis that can be understood as a study case (YIN, 2001), once I try to understand how identity construction takes place through the observation and analysis of undergraduate language students’ written narratives about their internship. For this research, I consider the data collected during the four semesters of internship programs that happen during college years. Therefore, I present a longitudinal vision and the (trans)formation of professional identity and representations throughout the internship programs. In this perspective, I divided the analysis into the following parts: class observation analysis, class conduction analysis, questionnaire analysis, emerging representations in data crossing and undergraduate language students’ identity construction. The analysis showed that the undergraduate students built their identities based on the representations of innovative teacher, that is the one who provides the construction of knowledge by interacting, educating and demonstrating to be sensitive to heterogeneity, who is ethical, reflexive and demonstrates authoritywithout authoritarianism. The results obtained in the research may contribute to provide me, as a researcher, and also other interested professionals, subsidies that may guide our teaching-learning activities aimed at educating undergraduate language students. Besides, they may contribute to the reflection upon the importance of Supervised Internship in the process of building Portuguese teachers’ identities and representations about their profession.

Although many times treated as a privilege of the elite and unnecessary to least-favored social classes, the teaching and learning of English Language is a student’s right based on National Curriculum Guidelines in Brazil. This learning process, being part of educational field, is part of a social realm, and can’t be characterized as a commodity. This thesis investigates the discursive constructions on the teaching and learning English in language courses advertisements and in the discourse of students in the end of the last year of high school. The focus in this research is the possible repetitions in both discourses, seeking to approach the representational aspect in the productions analyzed. This research is within the scope of Critical Discourse Analysis, as it focuses on recurrences that promote the reproduction of power, rather than reducing inequalities in learning access. A Systemic Functional approach on language (HALLIDAY, 2004) is adopted, considering the attitudes of high school students about many elements composing this English teaching educational process. The analysis of students’ discourse was made based on the appraisal system by Martin and White (2005). Concerning the analysis of the advertisement in video, Bezerra’s (2012) proposal to the analysis of dynamic image was adopted. The study allowed an investigation of common aspects between students’ discourses and advertisement discourses, leading to the conclusion that both discourses support a representation of English language as a commodity (FAIRCLOUGH, 2001), making it inseparable of consumption relations guided, not by what in fact constributes to the common good, but to what enriches a few through the definition of English teaching as a product necessary for achieving success. Giving primacy to the product, rather than the learning process, such discourses reinforce the understanding of the language as something you can acquire in a market transaction, ignoring the complexity inherent to the English Language learning process.

This thesis, presented to the Doctoral Course in Language Studies, of the Post-Graduate Program Strictto Sensu of the Federal Center for Technological Education of Minas Gerais (CEFET-MG), is the result of research that we have developed since 2017 on the production of French writer, poet, essaist and playwright, Jean Genet (1910-1986). The central concept of ours research is that of tragic thought. Therefore, we rote four chapter that deal with a conceptual network that seeks to evidence the exercise of that way of thinking by Genet, when developing his writing. In the first chapter, entitled The Tragic Thought, we try to present different aspects that involve the concept of tragic thought, that is, the unrestricted affirmation of existence and its multiple tensions, especially its relationship with the eternal return, the amor fati and the joy of tragic. In the following chapter, called Eternal Return... Violence... Genetian Becoming, we seek to show how the multiple and recurrent situations of violence experienced and described by the French writer throughout his life help to show traces of a kind of tragic thought. In the third chapter, entitled Fablecreate: Jean Genet and the Fabulatory Machine, we think about the concept of fabulation and how it enables Genet to create a people to come. Finally, in Genet's Tragic jouissance: on desire, the body and great health, we seek to show that, for Genet, the body is a great reason, based on the concepts of desire – as a creative power – body without organs – which calls into question the organizations and systematicities of the body – and the forgetfulness that, through betrayal, in the Genetian scripture, enables a way of happiness, manifesting great health.

Esta tese analisa a importância da leitura e da escrita em ambientes de privação de liberdade. A prisão, como um espaço de despersonalização e silenciamento, age sempre pela adaptação, pelo controle e pelo ajustamento dos indivíduos. A presença do livro e de projetos de promoção da leitura nesses espaços visa à construção de formas mais dignas de cumprimento da pena, atuando pela emancipação dos apenados. A partir do exemplo de escritores presos e de pessoas encarceradas que se iniciaram na literatura, o trabalho se propõe a discutir a prisão como um “espaço de crise” e a avaliar os limites da educação prisional, a partir da história dos mecanismos de progressão de pena. A investigação sobre projetos de remição pela leitura será contemplada nos capítulos finais, a partir da análise de exemplos ao redor do Brasil e, mais especificamente, na abordagem do projeto Rodas de Leitura, implantado nos presídios da região metropolitana de Belo Horizonte durante os anos 2017 e 2018. A recepção de obras literárias e os diálogos entre os participantes, os mediadores de leitura e os escritores em visita à prisão são analisados à luz da teoria desenvolvida nos capítulos iniciais da tese, com destaque para os conceitos de “encarceramento em massa”, “leitura em ambientes de crise”, “heterotopias de desvio”, “escrita de si” e “pedagogia emancipadora”. Pretende-se entender o papel de ações educacionais, mais especificamente aquelas ligadas à prática leitora, como instrumento de resistência à objetificação e de incentivo à reeducação, à reinserção e à reintegração dos sujeitos apenados.

O objetivo deste estudo é compreender como os sujeitos que trabalham em lixões se apresentam e são representados, discursivamente, nos documentários Boca de lixo (COUTINHO, 1992), Estamira (PRADO, 2004) e Aterro (REIS, 2011). Para tanto, construímos uma contextualização abordando a história dos documentários como um gênero híbrido, que se encontra ameio caminho entre o documento e a fabulação, devido à sua estrutura, intermediada entre o artístico, o fílmico e o informativo. Como pilares teórico-metodológicos, recorremos à Análise do Discurso (AD), a partir da Teoria Semiolinguística (TS), de Charaudeau (2013a; 2013b; 2014), que nos forneceu um corpo de conceitos e de categorias, acompanhado de um quadro metodológico, capaz de nos guiar na investigação. Assim, os estudos sobre os sujeitos no discurso, os imaginários sociodiscursivos, o contrato de comunicação e os modos de organização do discurso dos documentários são basilares para nossa análise. A AD, por ser umcampo interdisciplinar, permite uma interface com outras áreas do conhecimentoque dialoguem com os Estudos da Linguagem. Nossas análises apontaram que os três documentários brasileiros mostram distintas dinâmicas de registro da vida dessas pessoas, e os documentaristas, ao visibilizarem esses sujeitos em sua singularidade, lançaram mãos de estratégias para firmar um posicionamento político e ideológico, do qual todo discurso é portador. Nesse sentido é que se mostrou interessante analisar esses documentários, que se configuram como dispositivos de referência de um memorial sócio-histórico e que dão a conhecer um pouco sobre essas existências mínimas, relegadas àmargem social, geográfica, econômica e política. Ressaltamos que os sujeitos entrevistados nos documentários se apresentam e são representados em sua singularidade e não na totalidade de um grupo social, fazendo com que cada documentário assuma um lugar de afirmação da diversidade de experiências, identidades e linguagens. A visibilidade dada ao sujeito do discurso, por meio de sua voz, corpo e presença, fomenta o interesse pela história desse outro que vive em um lugar que parece ser possível de acessarmos apenas de forma mediada. Nossas conclusões indicam que as mulheres protagonizam as narrativas nos documentário se fazem uso da memória, como ferramenta de resgate de suas histórias, e ao visitar o passado, elas buscam imprimir sentido ao tempo presente. Por meio dessa narrativa, esse sujeito sócio-histórico se (re)constitui em seu ambiente de trabalho e doméstico, a partir dos modos de existência nesses espaços em que (sobre)vive. Os aterros e lixões,como lugares para onde são levados os restos recolhidos dos grandes centros urbanos, caracterizam-se ainda como espaços em que diferentes memórias se correlacionam. De um lado, tem-se a memória e história daquele que descartou o objeto; de outro, a memória daquele que, ao se encontrar com esse objeto descartado, ressignifica-o e, assim, ressignifica sua própria história. O documentário, assim, representa o dispositivo em que essas memórias e histórias foram resgatadas e registradas, constituindo-se, portanto, em uma memória externa dessas narrativas.

Research carried out by teachers who work in the Portuguese / Spanish Literature course at UFMS, in the distance modality, in addition to teaching experience, there is a recurrence of the phenomena of interaction as an element of balance or imbalance in the maintenance of the group. Thus, from the work of Parreiras (2005) and Vetromille-Castro (2007), whose research is closely related to the maintenance of groups based on the dynamics of Complex Adaptive Systems, the intention arose, within the scope of the Doctoral Program in Language Studies at CEFET-MG, to deepen the relationship between interactivity in virtual learning environments and the phenomenon of dropout, seeking to understand the patterns of interactivity within the AVA that precede school dropout. The research seeks to deepen the work carried out by Vetromille-Castro (2008) who addressed, in his doctoral thesis, socio-interactive entropy as an element that destabilizes any and all Complex Adaptive Systems constituting a Virtual Learning Environment. The author also points out that interaction is a systemic condition so that entropy does not overlap the functioning and dynamics of the group causing the closure of its cycle. In this way, we seek to find out in which dimension entropy destabilizes the system and at what moment it causes evasion. Indeed, based on these considerations, we seek to better understand our work as teachers at a public institution of higher education that seeks to find control mechanisms for evasion.

A partir del estudio de DziCroquettes, un grupo de teatro musical carioca de los años 70, pretendemos analizar con esta investigación un tema muy importante en la actualidad: la afirmación del cuerpo. Es un estudio que busca, sobre todo, discutir y lanzar un enfoque sobre la urgencia imperiosa de pensar la diferencia, desde la propuesta de vida y arte de los Dzi, precursores artísticos de las discusiones sobre género y sexualidad en Brasil, que engendraron una revolución conductual, sexual y estética. Con este fin, la disertación tendrá el refuerzo filosófico de Friedrich Nietzsche (1844-1900) y, algunos pensadores que tuvieron resonancia en este pensamiento, proponiendo un elogio al cuerpo, relacionándolos con las construcciones libertarias del grupo. La disertación también trabaja con Judith Butler y la teoría queer para discutir este cuerpo Dzi que actúa con expresiones de género fluido. 

This work proposes a reflection on the conceptions of space presented in the books A Rosa do Povo (1945) and Claro Enigma (1951) by Carlos Drummond de Andrade, from the perspective of creation. From an interdisciplinary interest, we propose a dialogue between theoreticians of Literature and Geography to initially establish a perspective of the landscape, treated as analogous to the image in processes of production and reception of what makes up the vision. At the limit between the disciplinary fields, derivations of the landscape emerge, which become evident as the notions of country and travel, recurring themes in the selected works. The transition from the poetic forms of the books between the periods of publication reflects the great political and social transformations that are characteristic of the poet, but also of the society and of the cities addressed by him. Such places cross life and the world in constant reaffirmation of “space time”. 

This research intends to think of the ecosystem and the video games industry through the lens of the philosophy of Deleuze-Guattari and other thinkers who densify the readings of the arts and various forms of expression in their relations with other aspects of the social fabric. For this, we seek to use the conceptual apparatus provided by philosophy to examine games in their multiple dispositions in contemporary territory. Putting the video game between difference and simulacrum, that is, showing its diverging powers and its idiosyncratic expressions that transcend representation, but whose meanings, as proposed by Deleuze, emerge through a series of paradoxes, occur in fields of tension between forces that seek to intensify different facets of what makes up the playful experience. It is expressive although it is compulsive, transgressive although alienating, artistic although the product of capital. And in the midst of these tensions and contradictions that are not worth resolving, there is a search for the meaning and symbolic value of works that are the product and production of a technology inseparable from contemporary socius. Creations that are, at the same time, manifestations of an affirmative power brought about by technology and the product of an alienating capitalist system, of a technology that, based on the ideal of a permanent progress, ends up hiding its multiple political, social, economic and environmental developments. We aspire to think how experience and creation, especially in the creation of the game, can serve as an escape route to the utilitarian existence in the control society. Therefore, an approximation between games and other modes of the arts is necessary.

This research aims to verify to what extent the organization and implementation of a didactic device in accordance with the standards of Didactic Engineering can contribute to the construction of the practices for multi-literacy of multimodal texts in the teaching and learning process of 8th grade students. Among the justifications for conducting this research, we highlight that the Didactic Engineering theory brings its contributions as an experimentation methodology and also as promotion of systematic interventional practices, so the students appropriates progressively of the communicative activities in which they are inserted. It is important to emphasize that the interventional action needs to be planned, with clear and defined objectives, as well as consider the means that will be used to achieve the previously established purposes (BNCC, 2017). The proposed hypothesis is that, with the planning and implementation of devices systematically designed through Didactic Engineering, the students of basic education will be able to develop their multi-literacy skills related to multimodal texts, as well as understand the socio-communicative functioning of the institutional advertising genre. As theoretical reference for this work, the research uses authors such as Bahhtin [1929] 2006, Bronckart (1999), Dolz, Noverraz, Schneuwly (2004), Roxane Rojo (2012), Vygotsky, Santaella (2012). As methodology, we developed an applied research project. In this sense, the type of research adopted will be an applied research, which seeks to contribute to a proposal for didactic strategies – mediated and systematized by the teacher - in order to mitigate the difficulties demonstrated by students in relating the multiple languages of the genre institutional advertising with focus in the construction of different semioses. We brought an application of diagnostic activity that assesses some reading skills; sequentially, the realization of the workshops systematically organized from the diagnostic activity and, finally, the application of reading activity with the same purpose as the one previously applied, in order to analyze the practices carried out especially during the development of the workshops. Through comparisons between the results obtained by the students in the diagnostic activity and in the activities of the workshops, it was possible to verify the development of students' reading skills. The results show that, during the workshops, teaching reading skills requires a systematic work, planned by a teacher / engineer who promotes constant learning mediation. Given these systematizations of didactic strategies, we can say that the Didactic Engineering tools were efficient for the development of students' reading skills. They positioned in a participatory and critical way in the construction of new learning. Thus, we believe in the need for investment in the organization of Didactic Engineering projects, which explore the reading of different multimodal texts, in order to allow students to be able to read critically other genres that they face in their social environment, especially those that use multimodal language.

The objective of this work is to identify which images of citizens from the city of Carangola were constructed by the newspapers O Radical(1891) and O Rebate(1893) at the turn from the 19th to the 20th century. We realize the need for more regionalised studies, which involve interdisciplinary research concerning the press, addressing the newspapers in their different possibilities and contexts for analysis development. Given the economic, social and cultural prominence of the city of Carangola, Minas Gerais / Brazil, as a pole that published several journals, still little explored in research, we consider it important to carry out a study of the aforementioned newspapers, published in the city. We understand that these newspapers sought to establish links between news organizations and the community in which they were located. In some reports, we noticed a proximity of the newspapers with their readers, in which we found information about the behavior and events related to people and families considered as models, exemplars. Although at the time these sections did not yet constitute what we now call “social column”, we classified them this way due to their thematic corpus and their textual characteristics. In the “social column”, the construction of the image of the ideal Carangolan citizen, by the newspapers, is more evident, since the characters that make up the narrative are idealized from real beings, named and characterized. In the second session, we return, in a historical overview, to some of the issues that influenced the production of the aforementioned newspapers and discuss in which economic, social, political and cultural scenario they weredeveloped. In the third session, we deepen our debate through the following concepts discussed by Patrick Charaudeau (2014; 2016; 2017): language, discourse and social imaginary. We also define the social column genre and its characteristics. Thus, it was possible to analyze the social imaginary and evaluate the image of Carangolan citizens that was built and supported by these newspapers. We conclude that the image constructed and represented by the newspapers of an ideal Carangolan citizen, also an ideal reader of the news, is characterized by the figure of a successful white man; outstanding in his profession or activity; a powerful, influential and highly esteemed man in the social environment in which he lives; a virtuous man, committed to his family obligations and used to the knowledge and characteristics linked to the ideal models of attitudes and sophistications from European culture. The "social columns" function as a kind of “showcase”, where the personalities of the elites have their ideal values and models of conduct displayed to the whole society.

The research describes and analyzes the elements of the graphic project and the elements of the paratext of the five editions of the series “Os Karas”, by Pedro Bandeira, published by Moderna. “Os Karas” series is formed by A droga da obediência, published in 1984, Pântano de sangue, in 1987, Anjo da morte, in 1988, A droga do amor, in 1993, Droga de americana!, in 1999 and A droga da amizade, in 2014. For this research, the editions were classified according to the publication date. The Edição 80, therefore, includes the books published over the 1980s, the Edição 90, over the 1990s, and the Edições 2003, 2009 and 2014 were published in the respective years. The research was motivated by the attempt to understand the reasons that led to the publication of the new editions of the series. The analysis and the comparison of the elements, thereby, were made in order to investigate the following hypothesis: the changes were made so that the graphic project and the paratext could convey a conception of young people more consistent with the generation of readers of each era. To carry out the research, it was necessary to first investigate the concepts of youth and adolescence, the particularities of the Brazilian young adult literature, its growth and consolidation in Brazil and the questioning about young adult as a “gender” due to its inherent relationship to the school institution. It was also necessary to understand the elaboration of the graphic project of a book, and highlight the notes on image, front cover and paratext, a term coined by Gérard Genette. The research corpus, formed by the 24 books of the series, is part of the collection of public libraries, school and university libraries from Belo Horizonte. The analyzed elements were classified into five groups: book format and type of paper; front cover and attachments (back cover, spine, french flaps, endpapers, binding); illustrations; composition of the written text (typography, text alignment, characters per line, hyphenation, numbering); peritext (title page, copyright page, dedication, table of contents, chapter title, endnote and footnote, colophon, the author bio and pieces of information about the work). It was found that the conception of young people as a forward-looking person and a defender of the values of freedom, equality and justice, remained over the editions. However, some perceptible changes were made to the elements of the graphic project and the paratext in an attempt to update the books and the consequent approach with new generations of readers. Other hypothesis emerged along the research to explain the publication of new editions of the series, as commercial motivations and the need to standardize the book series.

The Urban Sketchers group is destined to artists, architects, designers and people interested in Urban Sketching. It was created in 2007 by the illustrator Gabriel Campanario with the goal to estimulate, promote and conect people interested in the practiceof the Urban Sketching, made through direct observation, in loco, without the use of photography. Estimulated by the manifest of the group, people gather to draw the city, doing a register of time and place, sharing the creations online afterwards. Despite this, one of the most proficient ways to share and propagate the movement is through the book. This dissertation has the goal to create an editorial history about these publications moved by the group, with a focus on the brazilian market. Which are the printed books by Urban Sketchers launched in Brazil since the creation of the group in 2007? Who are the authors and publishing houses responsible for the publication of these books? How was the editorial process of them? What is the reader publicprofileof these books? Those are some questions that were brought and answered during the research. To accomplish that it was usedsome methodological proceduresto create the history of the movement and its editorial outlook that involved research through blogs and sites about the group, a data record sheetwith information collectedfrom the books of the corpus, application of a quiz to some professional behind the material, with focus on the authors, alongside some editors. To know the reader public of these books it was done an online quiz, that collected information to identify the type of people who reads these books inside the Urban Sketchers movement. For the theoretical building of the work it was used researches that dialogues with multiple areas: for theconstruction of a dialogue between the citym the drawing and the book, the works ofBinho Barreto (2007); Brígida Campbell (2014); Karina Kuschnir (2012), Paulo Tôrres (2016; 2017a; 2017b) and Raro de Oliveira (2019); To verify the agents of these publications and the book as an object: Ana Elisa Ribeiro (2016; 2018a; 2018b), Chris Anderson (2006), John B. Thompson (2013), Roger Chartier (2014) and Robert Darnton (2010). For last, to understand the practices of some editorial houses responsible for these publications, it wasnecessary to understand the mechanisms used by these so-calledindependents initiatives, throughthe works of: Alice Bicalho (2007), Gilles Colleu (2007) e José Muniz Jr. (2016).This work itself concluded that it is important to start documenting the history of the Urban Sketchers Movement, that in its brief existence already made important actions about topics such as the drawing and the city, in a global scale, and the dissertationis aware of the possibilities of creating a base work, that can be consulted by other researches to get going with the research itself, that hasmaterial and corpus to be looked at different perspectives, and that showcases important figures behind the books of the corpus, building also an academic platform for the preservation of their works as book professionals.

This study focuses on discussions that have emerged on Facebook about the
role of teacher in the classroom. There are two opposed movements: School without
Party (SWP) and Teachers against School without Party (TASWP). This study aims to
analyze on Facebook comments the discourses of legitimation and the role of teacher
pictured by the two groups. It is used the methodological framework based on French
discourse analysis Michael Pêcheux. The corpora are formed by discourses selected on
the Internet taking into account important dates such as 2004 and 2005 when SWP and
TASWP were respectively created and periods between 2014 and 2019 when bills have
been proposed. The analysis of the discourse aim to question: I) To which extent may
this research contribute to understand the political-ideological polarizations that
interfere in the discourses and the control of meaning of the two groups ideologically
opposed within the Facebook platform? II) Which are the effects of meanings
introduced into subject’s discourses (social, collective and discursive memories) by both
groups taking into consideration the social ideological historical context? III) How can
the representations that reinforce the divergent world’s view and are based on politicalideological
perspective related to the role of teacher and his/her teaching performance
be analyzed on Facebook comments posted by members of both SWP and TASWP
groups?

A presente dissertação tem como objetivo investigar, sob a luz da Análise Crítica de Discurso (ACD), de que forma foram dispostos elementos para a construção de sentido nas elocuções da ex-presidenta Dilma Rousseff nas cerimônias de instalação da Comissão Nacional da Verdade e entrega do Relatório Final. Recorre-se aos conceitos de discurso político de Patrick Charaudeau, de hegemonia de Gramsi e ideologia de Althusser para constituição do arcabouço teórico para a análise. Além desses referenciais, a pesquisa emprega o Modelo Tridimensional da ACD, bem como conceitos de Ordens do Discurso de Michel Foucault para o entendimento das relações de poder e das relações entre o sujeito e a estrutura do Estado expressas na conciliação de interesses na constituição da Comissão e das elocuções. A escolha pelo corpus se deu por se tratar de elocuções marcantes na história brasileira, ocorridas em eventos que marcaram a instituição de uma Comissão capaz de investigar violações de Direitos Humanos durante a ditadura militar no Brasil, uma das iniciativas para recuperação da memória dos anos de chumbo no Brasil e fazer justiça aos mortos e desaparecidos no período. A investigação buscou reconstruir a trajetória de vida de Dilma Rousseff, o histórico de ações em prol da rememoração das vítimas após a redemocratização, além de realizar uma breve contextualização sobre o conteúdo dos relatórios e situação política do governo de Dilma Rousseff, bem como um panorama sobre o trabalho exercido pela CNV. Como resultado, dispõe-se que as falas analisadas apontam forte tendência à valorização de instituições democráticas, projetam que o Governo Federal deve se responsabilizar e agir de forma a inibir novos abusos e tenta incutir valores de que toda a população brasileira deve ser responsável por promover e fortalecer a democracia.

This paper aims at investigating the relation that exists between the knowledge and the assembly in the book O queijo e os vermes, written by the italian historian Carlo Ginzburg, originally published in 1976. This book, reconstitutes and tells Domenico Scandella’s history, also known as Menocchio, a farmer that has had his own ideas repressed by the inquisitorial power in the 16^th century. The knowledge and the readings that Menocchio used to construct his own cosmogony are investigated based on Michel Foucault's thought on discourse, knowledge and power, and also regarding the concept of assembly (montage) from Georges Didi-Huberman. The investigations of Professor Ivan Domingues about transdisciplinarity collaborated in the sense of considering that Menocchio’s cosmogony puts into movement the field of knowledge, reinventing new possibilities.

En esta investigación se busca comprender cómo el Programa Nacional do Livro e do Material Didático (PNLD) concibe la literatura para niños y jóvenes. Para ello, se analiza la convocatoria de solicitudes de registro y evaluación de libros literarios del PNLD Literário 2018 y 2020, que van desde los criterios de evaluación adoptados por el programa hasta la caracterización de obras y del material complementario de apoyo a los docentes. El análisis documental destaca tres aspectos en particular: i) la calidad literaria, ii) la escolarización de la literatura y iii) la concepción del libro como objeto material. El trabajo también presenta una revisión histórica y bibliográfica del campo de la literatura infantil y juvenil, así como de las políticas públicas del libro y la lectura en Brasil. La investigación se basa en el entendimiento de que las políticas públicas, por su carácter legislativo, potencial económico, poder de ejecución y consagración, tienen una gran influencia en el campo editorial brasileño, especialmente en el segmento infantil y juvenil. Desde esta perspectiva, busca dilucidar las bases históricas, políticas, económicas y culturales sobre las que se desarrolla la literatura infantil y juvenil brasileña y la formación inicial del lector literario en el país. Como fundamento teórico se utilizan los estudios de Pierre Bourdieu, Lígia Chiappini, Marisa Lajolo y Regina Zilberman, Kazumi Munakata, Zohar Shavit y Magda Soares. Con ello, se establece un diálogo entre los campos editorial, literario y educativo. Se observa, a partir del análisis, que el PNLD Literario valora una concepción pedagógica de literatura, restringiendo la autonomía de profesores y estudiantes, vetando la condición estética de las obras literarias y transformándolas en material didáctico de apoyo.  El programa asigna objetivos utilitarios y misiones moralizadoras a la literatura, sirviendo como referencia conductual para los niños y como mecanismo de transmisión de contenidos.

This work focus in the analisys of family portraits in studio and itinerance activities by the photografher Assis Horta, born in Diamantina, in period of New State (1937-1945) from the perspective of translation and cultural difference, concepts presented and explored by Jacques Derrida and some of his followers. Postcolonial philosopher Homi K. Bhabha suggests, in a series of articles gathered in the volume The Place of the Culture (2007), from the derridian perspective, that the world can be read like words are read and the several cultures, as interdisciplinary texts, therefore, “translatable” from a historical-political-social context to another. This adaptation process of cultural narratives generates other discursive texts that can be analyzed from cultural products such as photographic portraits, where micro-aspects of scenarios, pose, body gestures, clothing, etc, allow us to glimpse plastic and social compositions that, the one time, contest and settle. In this way, the production of the first photographic records of ordinary people at the beginning of the 20th century becomes particularly interesting.

This research aims to contextualize the biographical genre in the history of children's literature, aligning such perspectives to the Brazilian editorial scenario and discussing issues related to the representativeness of the black character in these works, specifically by Nelson Mandela. To this end, we started from a market survey from which we selected and proposed the analysis of four biographies of Nelson Mandela, produced between 2003 and 2018, based on the following criteria: i) editorial house; ii) graphic design and illustrations, and iii) enunciative voice. We start from the conception that biographical works, when directed to children, tend to have an educational perspective, which leads us to question how the representations of the black character occur since he is a marginalized and invisible subject. Furthermore, we aim to understand to what degree books graphic and editorial aspects can influence the meanings making processes produced. We employed Pierre Bourdieu (1997; 2005; 2006; 2007; 2018), Marisa Lajolo, and Regina Zilberman (2007), François Dosse (2015), and Stuart Hall (2016) as Theoretical foundations, as well as complementary works. It can be observed that the publishing market for children's books has appropriated the biographical narrative so that the tendency points to the growth of the gender in the modality. Regarding the analysis, we perceived the black protagonism on such subjects is proportionally lower than the one granted to white characters, which reinforces the homogeneity of literary representations, even though there are legislation and political movements that seek to fulfill the existing gap of African and Afrodescendant productions in children's literature. Moreover, we realized both Nelson Mandela and South Africa representation tend to be based on a colonialist perception, according to the Negrismo perspective. It's also observed that biographical works about real-life characters tend to cast aspects of their trajectory to weave a life storythat can be used as a tool for children's moral education.

This dissertation has as its main research topic: reflections on the way in which the writing configures itself as a space for political change in the setting of principles of vision and division of the social world, in the theoretical perspective of Pierre Bourdieu, and/or the relationships between seeing, doing and being on the distributions of the sensible, based on Jaques Ranciére’s considerations. And how literature can be a democratic instrument for changing this divisions, claiming the existence, visibility and inclusion of the uncounted portions, supplementary groups that were excluded from the community, by introducing disagreement, the Other, opening up to new possibilities of storytelling and representative settings world. Therefore, aspects of the writing disputes in the Mozambican colonial context will be analyzed, as well as the post-independence conflicts, mainly the literary production in the 1980s. The tensions between the FRELIMO unitary model of combative poetry and the literary works that challenge this model are analyzed from a perspective that considers the written word as a field of political action and the reconfiguration of the space of the distribution of the sensible in a community. To approach the literary work as a factor of disruption and dissent, we will study the literary work Ualalapi, by Mozambican writer Ungulani Ba Ka Khosa, published in 1987 and its relations with official Mozambican historiography.

The hereby dissertation addresses the market surrounding autonomous publishers’ publications at Banca Tatuí (Tatui Newsstand), a newspaper stand repainted to look like a bookstore in Santa Cecília district in the city of São Paulo. Firstly introduced in 2014 by the Lot 42 publishers, João Varella and Cecilia Arbolave, this space currently holds works from over 200 partner producers. Besides the physical store, There is also a virtual store from Banca Tatuí, and on its social networks, there is a character who plays the role of a digital bookseller. For this research, we surveyed partner producers and categorized them to select the publishers who would compose our corpus. The criteria used to do so were: 1) geographic location; 2) to sell at the Tatuí Bank editorial objects considered stricto sensu books; 3) the number of titles available at the virtual store; 4) to also sell through its own virtual store and independent publication fairs. By these criteria, we were able to scope the corpus into the publishers: Nega Lilu Editora (Goiânia), Polvilho Edições (Belo Horizonte), and Editora Barbante (Curitiba). Semi-structured interviews with the publishers were made to start and later in-depth interviews with the booksellers, we aimed the dialogue of these multiple voices, to understand how the market of printed matter in the independent scene works and how the Tatuí Bank is a relevant sales point for these producers. Due to the great heterogeneity of the independent publications field, we brought study cases on selected partner publishers. Our discussion was theoretically based on the works of Pierre Bourdieu (passim) and José Muniz Jr. (2016). These provided us elements to understand how the market of symbolic goods and the independent publication field described in this thesis work in the graphic-publishing microcosm. Our partial conclusions point out that the Tatuí Bank is relevant as the partnership goes beyond the distribution of titles at the physical store, acting as a seal to enter a market and legitimization circuit.

This study aims to evaluate three books that are part of contemporary Brazilian fiction: Feliz Ano Novo originally published in 1975, by Rubem Fonseca, O Cheiro do Ralo (2002), by Lourenço Mutarelli and Favelost (2012), by Fausto Fawcett. The work starts from the concept of tragic, in which Gilles Deleuze appropriates Nietzschean philosophy in order to constitute, together with Clément Rosset's terrorist philosophy, the notion of terrifying as the operator of reading our corpus. To think about the crossings between literature and philosophy, we will adopt the Deleuzian practice of writing that makes aesthetic figures and conceptual characters slide over each other. Allied to the Barthesian writing, we proposethe referred texts inthe avaliationtobe understood as an opening to the outside, aconcept appropriated by Deleuze as the possibility of us tragically deterritorializingand territorializing ourselvesin the literary making.