O percurso histórico das práticas de escrita nos vestibulares e processos seletivos, principalmente a redação do Enem, evidencia o destaque social que esse gênero textual adquiriu no cenário educacional brasileiro, em virtude, sobretudo, de sua obrigatoriedade para o ingresso no Ensino Superior. Essa conjuntura implica efeitos retroativos no ensino de Língua Portuguesa, o que pressupõe a necessidade da construção de um entendimento acerca de sua relação com a Prática de Análise Linguística (PAL), prevista como eixo transversal para o ensino de língua materna, desde a década de 1980, por estudiosos da área e documentos parametrizadores. À vista disso, considerando que, por vezes, o livro didático (LD) é adotado como única ferramenta de apoio ao fazer docente, e que, no contexto brasileiro, a elaboração e a escolha desses materiais têm fundamental influência nos parâmetros técnico-normativos do Programa Nacional do Livro e do Material Didático (PNLD), esta dissertação tem o objetivo geral de compreender o trabalho com o eixo de Análise Linguística em uma obra específica de redação do PNLD Ensino Médio 2026-2029. Para isso, como objetivos específicos, elencamos: a) delimitar os objetos de conhecimento subjacentes às práticas de análise linguística nas atividades desse livro didático; b) identificar, nessa obra didática, os processos cognitivos mobilizados nas atividades de análise linguística direcionadas ao ensino-aprendizagem de redação; e c) explicar a integração entre os eixos de Produção de Textos e de Análise Linguística nessas atividades de redação. Do ponto de vista teórico, essa discussão é amparada nas contribuições dos estudos da Linguística de Texto (LT) e da Linguística Aplicada (LA). Metodologicamente, este empreendimento investigativo classifica-se como documental e descritivo-explicativo, com fins qualitativos, que se desenvolve mediante as bases lógicas do método científico indutivo e está situado no campo da LA. Para tanto, recorre-se a uma série de procedimentos técnicos, como a observação, a amostragem, a descrição, a comparação, a análise e a síntese, de maneira a viabilizar o fazer analítico pretendido. Nesse processo, houve a delimitação do corpus, isto é, das ocorrências relativas à abordagem pedagógica dada aos elementos linguísticos nos exercícios do livro didático de redação da coleção 360º, da Editora FTD. A análise dos dados, por sua vez, incidiu sobre as atividades das seções Leitura em pauta, Linguagem em foco e Produção de texto nas quais fosse possível observar, no mínimo, um exercício relacionado ao ensino-aprendizagem desses elementos em interface à leitura, à análise e à escrita da redação do Enem. Nossos resultados apontam para uma abordagem didática pautada na diversidade de objetos de conhecimento, tanto lexicais quanto gramaticais, cujos exercícios pressupõem processos cognitivos que transitam entre os níveis básico e intermediário, desenvolvendo-se habilidades de reconhecimento, compreensão, análise e aplicação. Além disso, verifica-se a tendência de o LD proceder à integração dos eixos de ensino, de modo que a AL, enquanto prática transversal, potencializa a formação crítica dos estudantes quanto aos usos dos recursos linguísticos em prol da construção da textualidade e da argumentação frente à leitura e à escrita da redação do Enem.

This dissertation proposes an analysis of the intersemiotic adaptation of the novel Heart of Darkness (1899), by Joseph Conrad, into the video game Spec Ops: The Line (2012), examining how adaptation processes recreate literature in the digital medium. Based on Julio Plaza‘s (2003) theories, adaptation is understood as an act of intersemiotic translation involving structural, semantic, and expressive transformations, in which the new medium re-signifies the source text. Linda Hutcheon (2013) expands this notion by understanding adaptation as a process of cultural appropriation and recreation, in which the derived work maintains a dialogical and critical relationship with the source text, revealing both continuity and innovation. In this context, Julie Sanders (2006) contributes with the idea that adaptation is not merely a ―copy‖ of a previous text, but an active form of reading that recontextualizes the original according to new cultural and technological conditions. The game Spec Ops: The Line, in reinterpreting Heart of Darkness, shifts the focus from European imperialism to contemporary militarism and interventionist politics, proposing an ethical reflection on the banalization of violence and the deconstruction of the hero. This reinterpretation resonates with Edward Said‘s (2011) reflections on imperialism and coloniality, as the game exposes the persistence of domination and cultural alienation structures under new forms of power, now mediated by technological warfare and entertainment. The analysis demonstrates that the game not only translates the narrative and symbolic elements of the novel, but also transforms them into an interactive experience, in which the player assumes the role of a moral agent, being compelled to participate in the ethical dilemmas that define the plot. Thus, Walker‘s journey, the protagonist of the video game, reflects Marlow‘s descent, the protagonist of the novel, into the ―heart of darkness‖, transposed into the context of modern warfare and psychological trauma. It is concluded that Spec Ops: The Line exemplifies how intersemiotic adaptation can expand the boundaries of literature, transforming it into new languages and media without losing its capacity to question the human condition in the face of violence, guilt, and loss of meaning.

This study aims to analyze students’ textual practices within a context of the ubiquitous use of generative artificial intelligences (GenAI) in their academic literacy processes, reflecting on the ethical, authorship-related, and formative implications underlying the use of these new digital technologies. Regarding the research trajectory and methodological choices, under the interpretivist paradigm (Liberali & Liberali, 2011) and with approval from the Research Ethics Committee (CEP) of the Federal University of Pernambuco (UFPE), as evidenced by Opinion No. 6,954-891, we conducted a field study (Marconi & Lakatos, 2017) of an exploratory nature (Gil, 2021). The study involved 17 volunteer participants enrolled in the undergraduate programs in Portuguese Language Teaching (Licentiate), Language Studies (Bachelor’s), and Spanish Language Teaching (Licentiate), all regularly registered in the course Portuguese V – Literacies in the Portuguese Language at UFPE, between April and October 2024. Within this context, four textual production activities were proposed, both with and without the use of GenAI. Based on these activities, we analyzed texts produced by five undergraduate students, totaling 22 texts: seven summaries generated by the GenAI ChatPDF from students’ authorial prompts; five academic reviews written by the students, which, in this study, involved five rewriting processes; and five digital infographics produced by the volunteer participants in interaction with Canva’s GenAI throughout the course. The analysis of this corpus mobilized specific concepts and theoretical frameworks, namely: (i) literacy practices (Street, 2003; 2014 [1995]), particularly those enacted in academic contexts (Lea & Street, 2014; Bezerra, 2015; Mendes et al., 2021); (ii) critical digital literacies and new literacies (Buzato, 2006; Lemke, 2010); (iii) discursive genres (Bakhtin, 2016 [1952–1953]; Medviédev, 2012 [1928]), with particular emphasis on the genres produced by the students—academic reviews and digital infographics (Bezerra, 2001; Motta-Roth, 2001; Souza, 2016; Charaudeau, 2016); and (iv) texts generated by GenAI, considering the complexity of factors involved in the use of these digital technological tools (Hashiguti, 2025; Lloyd, 2019; Cazden et al., 2021 [1996]; Boa Sorte, 2024; Araújo, 2025; Kaufman, 2021). We conclude that, in light of the ethical, authorship-related, and formative implications of GenAI, the undergraduate students developed academic literacies aligned with critical digital literacies, constructing meaning from machinic textual production, which initially presents a technical composition. Anchored in established academic textual conventions, students challenged algorithmic outputs by verifying information, mobilizing them ethically, and engaging with machine-generated textualities in a situated and responsible manner across different academic textual practices. In this regard, this study contributes to the field of linguistics by proposing practices for the critical, ethical, and authorial use of GenAI in academic writing, fostering closer connections between academic literacies and critical digital literacies within the literacy experiences of the volunteer participants.

The reception of Machado de Assis’s work has undergone several interpretive reconfigurations over time. A significant body of literary criticism acknowledges that, following the publication of Memórias Póstumas de Brás Cubas in 1880, a decisive aesthetic inflection took place, marked by the adoption of the so-called “free form”. Since then, numerous scholars have sought to determine how this formal reorganization articulates the core of Machado’s literary project. Engaging in dialogue with Enylton Sá Rego (1989) and Sérgio Paulo Rouanet (2007), this study argues that the form assumed by Machado’s mature novels may be interpreted as a singular reworking of a specific literary tradition, which Rouanet terms the “shandean form.” This tradition constitutes a modern updating of the lucianic lineage and menippean satire, incorporating procedures such as the subjective hypertrophy of the narrator, structural digression, and the interplay between laughter and melancholy. Rouanet further suggests that shandeanism entails a modern, ironic appropriation of the Baroque, a hypothesis grounded in his brief reading of Brás Cubas. From this perspective, the present study proposes an interpretation of Dom Casmurro that identifies, both in its narrative configuration and in the construction of its characters, an ironic reinscription of the Baroque form. Here, the Baroque is understood not merely as a historical-stylistic category, but as an aesthetic and subjective structure defined by tension, ambivalence, and the dramatization of interiority. Methodologically, the research unfolds in three stages: (1) a review of Machado’s critical reception, (2) a survey of scholarship on the Baroque, and (3) a close reading of the novel. The analysis reveals Baroque traits in the melancholy and skepticism of Bento Santiago, as well as in the work’s fragmentation, nonlinearity, and metanarrative movement. These findings not only reaffirm the “free form” as a privileged space for psychological deepening, but also invite a reconsideration of the relationship between literary form and brazilian reality, understood here as an aesthetic mediation of the historical tensions shaping the country’s entry into modernity and the impasses of its national formation.

This research aims to investigate the role of (im)politeness in the gender performance of the main character in the novel My Dark Vanessa (2020), by Kate Elizabeth Russell. The book narrates the story of Vanessa, a 15-year-old girl who has a romantic relationship with her English teacher, Strane. Years later, she comes to acknowledge and understand the trauma she experienced as she confronts the narratives revealed by the #MeToo movement. Through the protagonist’s point of view, themes such as power, manipulation, trauma, and consent are explored. Within this framework, the study is characterized as documentary, analyzing 14 excerpts from the novel in which the phenomenon of (im)politeness manifests. In this sense, (im)politeness is characterized as all evaluative meanings, whether positive, negative, or neutral, that influence how social relationships are perceived (Spencer-Oatey, 2005). The excerpts are therefore examined in light of the rapport-management model proposed by Spencer-Oatey (2005) and the face categories outlined by Culpeper (2011), in articulation with Butler’s (1990) concept of gender and the identity principles proposed by Bucholtz and Hall (2005). The research sought to: (1) analyze how the characters manage their face across different interactions throughout the novel; (2) examine the (im)politeness strategies employed; (3) investigate how power dynamics are established between the characters; and (4) determine how gender influences the protagonist’s (im)polite interactions. Furthermore, the study reinforces the relevance of literary works as objects of pragmatic study (McIntire; Bousfield, 2017), as they enable an in-depth analysis of linguistic concepts applicable to real communicative situations. Based on this analysis, the study aimed to understand how gender and power relations are constructed within the narrative, highlighting how discourse participates in both the construction and deconstruction of power dynamics. The findings indicate that the two main characters mobilize politeness in distinct ways: whereas Strane uses it as a strategy to evade responsibility for his actions, Vanessa employs it to maintain rapport and to avoid recognizing herself as a victim of the situation. Thus, the analysis demonstrates that politeness can be used to ratify gender performances in contexts characterized by power asymmetry, thereby contributing to the perpetuation of violence.

The teaching of fundamental elements for the development of learners’ pragmatic competence has become an increasing concern in national curricula. This concern mainly stems from the lack of attention given to some of these components in classrooms, particularly the under-representation of phenomena such as (im)politeness (Talebzadeh e Khazraie, 2021). Therefore, investigating how and to what extent this subject is addressed in one of the key tools of the learning and teaching process, the textbook, becomes even more relevant, especially given its role as a mediator of curricular expectations (Frangella, 2024). Based on the points discussed, the present study can be classified as a documentary research that aims to analyse whether topics related to linguistic (im)politeness are included in high school English textbooks approved by the Programa Nacional do Livro e do Material Didático (2026/2029). The selected corpus consists of eight activities drawn from two textbooks: Joy! - Língua Inglesa published by FTD, and Moderna Plus - Língua Inglesa, published by Moderna. Both textbooks are analysed using Brown and Levinson’s (1987) politeness strategies, Culpeper’s (1996) impoliteness output strategies, and Spencer-Oatey’s (2002; 2005) rapport management framework. Furthermore, the activities under investigation are also compared with Féliz-Brasdefer e Mugford’s (2017) Pedagogical Model for Teaching (Im)polite Behaviour in the FL Classroom. Based on the theoretical framework presented, it was possible to: I) identify the activities that included some type of instruction/information related to (im)politeness; II) analyse the goals and contexts of the pragmatic input and its potential contribution to the development of learners’ sociopragmatic competence; and III) understand how the phenomenon is addressed in classroom contexts. The main findings of this study indicate that (im)politeness is addressed only partially in the analysed textbooks, with a particular focus on positive and negative politeness strategies. There is also an emphasis on social identity, face, and equity rights. Additionally, both materials incorporate a range of steps from the pedagogical model, especially the pragmatic input stage; however, there is a lack of logical and pedagogical connection among the different stages. Finally, beyond the limited number of activities available for analysis, there is insufficient contextual information to guide their implementation and explicitly address the phenomenon under investigation.

This research aims to analyze the science fiction novel L’evangile Selon Myriam (2018) by the martinican author Ketty Steward from a decolonial perspective to highlight, through her narrative, the violence of the absolute exclusion of the "Other" perpetrated by coloniality, as well as presenting the movements that combat this imperialist tool. Thus, this study seeks to understand how this fictional novel acts as a spokesperson for antillean identity and creoleness in modernity; that is, how its narrative gives voice to the marginalized experiences of diasporic and subjugated peoples in the process of colonization and slavery in the antilles, within the closed system of plantations, with the novel possessing a surviving ancestry. Furthermore, the study aims to show the way that the narrative combats the colonizer's discourse, engaging with Édouard Glissant's (2011) concept of Relation. As a secondary objective, the short story genre will be highlighted as the closest written representation to the oral tradition of the Antilles, particularly regarding its fragmentary aspect, considering the presence of the genre in the composition of the novel under study. The fundamental role of afrofuturism as a narrative that refers back to the ancestral past, projecting a solution against the subjugation of coloniality into the future, will also be highlighted. For this purpose, the work will be discussed based on the theories of Relation present in Édouard Glissant's Poetics of Relation; on the aspect of the Creole in In Praise of Creoleness by Jean Bernabé, Patrick Chamoiseau and Raphaël Confiant; and on the fundamental aspects of Afrofuturism in the study Further Considerations on Afrofuturism by Eshun Kodwo. Finally, taking into account the objectives and theoretical foundations, this dissertation is expected to answer the following question: How does the Afrofuturist novel L’Evangile Selon Myriam and its alternative narrative, which represents the Afro-diasporic Antillean voices, contribute to the reconstruction of the discourse of a silenced people? The intertwining of cultures and ancestry as responses to the measures imposed by colonialism.

This Master’s thesis analyzes the novel O avesso da pele, by Jeferson Tenório, with the aim of understanding how literary form reorganizes the experience of racism, displacing it from a merely representational dimension to an aesthetic experience through the representation of the subject’s subjective aspects. Drawing on the theoretical contributions of Luiz Costa Lima, particularly with regard to mimesis as the production of difference, and of Wolfgang Iser, concerning the relationship between text and reader, this study proposes that literature does not reproduce reality, but rather reconfigures it, producing shifts in meaning. The analysis also mobilizes psychoanalytic frameworks, especially those of Jacques Lacan and Isildinha Baptista Nogueira, as well as reflections on race and society developed by Sueli Carneiro and Cida Bento, in order to understand how racialization operates in the constitution of the subject. By privileging Pedro’s narrative as an opaque discursive construction rather than a reflexive account of events, the thesis demonstrates that the novel formalizes the experience of racism through narrative fragmentation, the centrality of the body, and the constitution of relations of alterity marked by skin color. In this sense, the romantic relationships of the character Henrique, as well as his bodily and social experiences, emerge as privileged spaces for the manifestation of this constrained subjectivity, in which desire, identity, and recognition are shaped by historically constructed racial dynamics. It is therefore argued that the strength of the novel lies in its capacity to displace crystallized representations, not only by denouncing racial violence, but also by producing in the reader an effect of estrangement that renders the subjective experience of racism perceptible. It is concluded, finally, that mimesis, understood as repetition through difference, enables literature not only to reflect the social world, but also to intervene in it by destabilizing consolidated imaginaries and expanding the possibilities for understanding Black experience as a non-homogenized individual experience in contemporary Brazil.

Much like a matryoshka doll, the poetics woven by the poet from Alagoas, Larisse Nolasco,
unfolds into multiple and complex feminine profiles. From this perspective, the plural
subjectivities of the voices that enunciate Nolasco's poems are built through the employment
of narrative textual typology, accomplishing an unexpected feat: the fusion of two
foundational categories, the lyrical self and the poet. Both appear incorporated, in her work,
under the guise of the poet-narrator. This poetic entity, constructed through a diction that
(re)invents the deixis of the Agreste region of Alagoas and formalizes visual and sonic
landscapes responsible for (re)mapping this territory, elaborates, through its storytellings, new
meanings for the word "woman." In light of these considerations, the objective of this
bibliographic, qualitative, and analytical-interpretive study is to investigate how feminine
figures are woven into the poetics of Nolasco. In order to fulfill this aim, the work is
structured around a panoramic reading of her output, which identifies cinema, rage, memory,
and eroticism not only as recurring themes, but also as mechanisms that enable the existence
of the lyrical voices. Its findings reveal formal and discursive strategies present in Nolasco's
poetics and, by extension, in contemporary Brazilian poetry, which make possible the
(re)configuration of feminine figures under new guises. This movement gives rise to a
"Poetics of Revenge," a movement to which other Brazilian women poets are also affiliated.
Along these lines, the research draws transversally on Agamben (1999), Cavarero (2025),
Cixous (2022), and Magalhães (2021), and specifically on a range of references in dialogue
with each thematic axis. Its social impact can be glimpsed across the following layers: in its
focus on poetry written by women; in its interrogation of the sociocultural meanings that
shape the understanding of woman; and in the fact that it constitutes the first study on
Nolasco's poetics. This work was carried out with the support of the Coordenação de
Aperfeiçoamento de Pessoal de Nível Superior

Initial English language teacher education involves not only the development of linguistic and pedagogical skills, but also the construction of interactional skills related to managing interpersonal relationships in the classroom. In this context, rapport management and research on (im)politeness offer relevant contributions to the comprehension of the linguistic-discursive choices mobilized by pre-service teachers in teaching situations, although this interpersonal dimension of teaching still receives limited attention in training processes. This research investigates how pre-service English language teachers build and manage rapport with their students, analyzing how their learning trajectories, the knowledge mobilized in their teaching experiences, and reflection on (im)politeness influence their interactional practices. This is an action research project developed within a university extension program at a Brazilian public institution. Sixteen student teachers from the Letras undergraduate teaching program participated in the study. The data were generated through an initial questionnaire, semi-structured interviews, classroom observations, and a pedagogical workshop, and analyzed using qualitative thematic analysis. The results indicate that the linguistic and formative experiences of the participants serve as important references in the construction of their interactional practices, influencing especially their linguistic-discursive choices in situations of correction, feedback, and conflict management in the classroom. The observations reveal that participants employ rapport management strategies recurrently, although often without explicit awareness of their interpersonal effects. Furthermore, the data show that initial teacher training offers limited support for systematic reflection on the interpersonal dimension of teaching, a gap that participants tend to fill through practical experience, observation of teaching models, and their own learning trajectories. The pedagogical workshop contributed to the development of greater metapragmatic awareness of the interactional choices mobilized in classroom interactions. It is concluded that integrating discussions on rapport management and (im)politeness into the initial training of English language teachers can broaden the metapragmatic awareness of future teachers, fostering a more explicit understanding of the interpersonal effects of their linguistic-discursive choices and the relational dynamics that permeate pedagogical practice.

Argumentation can be perceived in the construction of discourse genres that are often not traditionally considered in terms of their argumentative textualization. A closer examination these genres reveals non-canonical modes — that is, modes that are not exclusively oriented toward persuasion — through which argumentation is realized in discourses that evidently echo more than one voice, whether textually marked or not, thus making them double-voiced (Bakhtin, 2022). In digital environments, attention to the argumentative performances involved in the production and circulation of genres must take into account the specificities of digital ecology from a post-dualist perspective (Paveau, 2021). Thus, when dealing with discourse technogenres, analysis must consider their composite nature, since digital discourse displays distinctive features that differentiate it from interactions occurring outside the web.t Therefore, it is relevant to consider the features of this space of discursive interaction from a perspective that goes beyond a logocentric view in order to understand polemical argumentation, among other technolinguistic phenomena. Accordingly, this study aims to analyze the textual-discursive functioning of the non-canonical polemical argumentative modality in the discourse technogenres of digital cartoons, tweets, and short TikTok videos. To this end, the study is based on Bakhtin (1997; 2016; 2017; 2022), Volóchinov (2021 [1929]), Paveau (2021), and Amossy (2008; 2016; 2017; 2020a; 2020b). In light of these theoretical perspectives, adopting a qualitative approach (Lessard-Hébert; Goyette; Boutin, 1990) and methodological support from Internet studies, as well as from Paveau (2021), Malini (2016), Recuero (2009), and Coletiva Ciborga (2022), we selected two digital cartoons, fifteen tweets, and eleven short TikTok videos to constitute the expanded corpus, according to the following criteria: (i) time frame, comprising materials published between October 2023 and December 2025; (ii) theme, addressing the Israeli–Palestinian conflict; and (iii) polemical discourse, by expressing dissensus within the digital public sphere. To refine the selection of the initial corpus, the analysis was restricted to two digital cartoons, two tweets, and one short TikTok videos, along with their respective comments, constituting the restricted corpus. This corpus was further defined according to the following criteria: (i) verified profiles, to ensure greater authenticity and security; (ii) circulation, considering high levels of engagement and the inscription of scrilecteurs; (iii) reported discourse, focusing on President Lula’s statements regarding the Israeli–Palestinian conflict. Within this framework, the study seeks to understand the co-construction of discourse, polemic, and double-voicedness in discourse technogenres, as well as to examine the continuum of argumentativity (Amossy, 2020) inherent in discourse itself. Thus, by analyzing the interrelationships among argumentative modalities in the construction of online discourse, we found that there are non-canonical modes through which argumentation is materialized, since, even when the intention is not to explicitly persuade the other, an argumentative orientation is present. These modalities function as ways of understanding the argumentative dimension in genres not traditionally considered argumentative. The polemical modality, in turn, can be identified through the tension generated by dissensus between actors and their points of view in the clash of voices, configured through the resources available on digital platforms. Hence, we understand this relationship is direct and inseparable from the evaluative accent in the discourse produced, thereby contributing to the full exercise of democracy through discursive practices. These practices are mediated by the specificities of digital interaction, which enable new semiotic forms of argumentation, in which ideological-discursive construction is intensified and reconfigured in this environment through its composite nature.

The selected short stories from Things We Lost in the Fire and Las Voladoras present a striking panorama of gender violence in the Global South, exploring how literary horror can portray the ongoing impact of oppressive patriarchal systems. The research develops a retrospective of the use of the term Insólito based on theoretical contributions from literary critics such as Jaime Alazraki, who place it in opposition to realist-naturalist narratives. Consequently, the modalities engendered within this term are examined, such as the fantastic, magical realism, the uncanny, the absurd, animist realism, and the marvelous, in addition to the hybrid type. The use of horror by both authors transforms the genre into a critical tool, destabilizing traditional narratives and providing a space where historical violence against women can be reframed and confronted. Although this analysis is conducted through fictions from women’s perspectives in parallel with their social reality in the Global South, it is understandable that throughout the process of reflecting on and comparing scenarios, a slightly larger dimension of this group is noted, given that the guiding category of violence is gender. This is because, beyond female bodies, feminized bodies are also targeted according to an intrinsic misogyny in Latin American societies. This violence, as Rita Segato (2014) points out in The Elementary Structures of Violence, is constantly updated in its mechanisms, making female and feminized bodies the most vulnerable territories and most easily subjected to representations of power and control according to a Western hegemonic order.

This dissertation aimed to analyze the identities attributed to Black women in the series Insecure (2016) through the cinematographic discourse produced by Black female filmmakers, in order to understand if and how Black women (re)construct their own social identities of race and gender in such a way that these identifications point towards denaturalization in the face of racist stereotypes attributed to the Black body. Specifically, we analyzed and discussed how the discourses materialized in this series contest and/or problematize racist gender/sexuality stereotypes related to Black women towards practices of Black re-existence (Souza, 2011). To this end, we based ourselves on the Critical Discourse Analysis formulated by Norman Fairclough (2001, 2003, 2016) Chouliaraki; Fairclough (1999) Resende; Ramalho (2006), in studies on social identities (Hall, 2006) and racial, gender/sexual identities from the perspective of Black intellectuals (Collins, 2000; hooks, 2013; González, 2020; Muniz, 2016; Souza, 1983). In terms of methodology, the research was qualitative, documentary, and interpretative in nature, following the methodological framework and analytical categories proposed by Fairclough (2003): discourse as representational meaning and discourse as identificational meaning. The corpus consisted of discursive excerpts from the series Insecure (2016). We conclude that the critical discursive analysis of series such as Insecure can contribute to the unveiling of social practices that sustain racist and gender stereotypes, reaffirming the role of language and cinema as strategic spaces of dispute in the hegemonic struggle and the production of meaning in the American context.

The profound transformations in the understanding of text, driven by innovations in social practices brought about by the advent of Web 2.0, require an epistemological reassessment of discourse genre studies. This need arises from the emergence of Native Digital Texts (NDTs), which require analytical categories capable of encompassing multisemiotic and interactional specificities that are inseparable from their technical materiality (Paveau, 2021). Based on the assumption that genres should not be studied as isolated entities (Bakhtin, 1997), but rather through their groupings and kinship relations (Araújo, 2012, 2016, 2021), this research investigates contemporary trends in advertising within Instagram’s digital ecosystem, drawing theoretically on Araújo (2012, 2016, 2021), Bakhtin (2002, 1997), and Paveau (2021). The corpus consists of observable data collected from the aforementioned platform and analyzed through a qualitative approach with a descriptive-interpretive perspective (Flick, 2009) and an ethnographic approach (Coletiva Ciborgue, 2022; Kozinets, 2000), grounded in Digital Dialogical Discourse Analysis (Paveau, 2021). The study aims to investigate the constellation of discourse technogenres, exploring how technological affordances and algorithmic agency reconfigure the creation, circulation, and reception of discourse. In this context, particular emphasis is placed on the publipost (Alves; Chaves, 2020), characterized as a hybrid genre that operates through intergeneric dialogism and imitation strategies (Chaves, 2010). The application of the properties of digital discourse (Paveau, 2021) made it possible to characterize the heterogeneity of this constellation, which comprises formats such as Stories, Reels, and Feed posts. The study also investigates how digital influencers, by assuming the position of guarantors of discourse (Maingueneau, 2008), construct an ethos of proximity and authenticity to validate the advertised product, converting followers’ pathos and affectivity (Amossy, 2020) into measurable engagement and consumption. In conclusion, our findings indicate that the publipost has become the master discourse technogenre within this constellation due to its ability to merge the advertising sphere with other spheres of social activity, transforming advertising into a form of entertainment. In this process, the algorithm is no longer understood as merely a technical support but rather as an ideological co-enunciator that participates in shaping social perception and the circulation of meaning.

Esta dissertação intenta investigar de que maneira o poeta russo Aleksandr Púchkin e o escritor brasileiro Machado de Assis, a partir de uma atualização da aemulatio, nos moldes estabelecidos por João Cezar de Castro Rocha (2013), superaram a imitação acrítica dos tipos canônicos, sem renunciar à influência de seus predecessores locais e estrangeiros, e, em razão disso, evidenciaram as contradições entre o culto romântico à originalidade e a prática comum de cópia das narrativas europeias das literaturas em formação no século XIX. O uso da poética da emulação, técnica marcadamente anacrônica, apresenta-se, sobretudo, em seus principais romances, Evguiêni Oniéguin (1825-1832) e Dom Casmurro (1899), obras influenciadas pelo cânone ocidental, mas que, em suas respectivas literaturas nacionais, são tidas como marcos fundacionais da criação literária. Para tanto, pretendemos comparar os romances em questão, a fim de observar o uso e a reformulação que Púchkin e Machado propuseram de tradições a exemplo do byronismo, do shakespearianismo e do shandianismo, além de observar a presença do bom legado de seus próprios conterrâneos nos textos de ambos. Ademais, teremos como base um panorama do termo aemulatio, desde suas origens na mímesis grega, até os recentes trabalhos sobre influência. Com isso, não intentamos exercer o papel de crítica policialesca de influxos internacionais nos trabalhos de dois autores que, embora não se encontrem em posições equivalentes de autoridade fora de seus países, em sua época, não ocupavam lugares notáveis na República das Letras. Pelo contrário, observamos
a maneira como esses autores renovaram sua escrita por meio de uma relação complexa, característica da aemulatio, entre o respeito e rivalidade às obras lidas em suas bibliotecas. O diálogo entre Machado e Púchkin, portanto, parece demonstrar que, malgrado textos literários escritos por nomes que não surgiram dos espaços culturalmente mais influentes sejam, com frequência, excluídos do corpus clássico metropolitano, a emulação do repertório canônico, se exitosa, pode emancipar escritores à margem.

Esta dissertação propõe uma leitura crítico-interpretativa de Terceira Aquarela do Brasil (1982), de Jomard Muniz de Britto, tomando o signo da serpente como eixo simbólico e epistemológico para compreender a singularidade de sua poética. Partindo do reconhecimento de que a poética jomardiana permanece relativamente marginal na crítica literária brasileira, apesar de sua importância para a cultura pernambucana e para os debates sobre literatura, política e experimentação estética, o estudo busca evidenciar como o livro em questão articula poesia, ensaio, performance e reflexão crítica em um projeto literário que recusa classificações estanques. A pesquisa compreende Terceira Aquarela do Brasil como uma obra de transição na trajetória do autor, situada entre sua produção vinculada às vanguardas e uma fase posterior, de uma reescrita palimpséstica e crítica a partir de seus textos pregressos, marcada pela reflexão metapoética e pela problematização da cultura brasileira. A metodologia fundamenta-se em uma abordagem qualitativa, de caráter bibliográfico e hermenêutico, centrada na análise textual da obra, em diálogo constante com seus elementos gráficos, paratextuais e imagéticos, especialmente as ilustrações de Anacleto Eloi. A leitura privilegia o exame das relações entre forma e conteúdo, bem como dos procedimentos de montagem, colagem, intertextualidade e performatividade que estruturam a escrita de Jomard. A pesquisa mobiliza as reflexões de Bosi (2021), Siscar (2010; 2025) e Compagnon (2010) para ponderar acerca da arte contemporânea, sobretudo a poesia no fim do século passado e suas linhas de força; as postulações de Patricia Lino (2024), a fim de discorrer acerca da expansão da poesia; os trabalhos de Linda Hutcheon e Marjorie Perloff, a fim de refletir sobre a paródia, a apropriação e outros dispositivos da escrita não original; e o trabalho de Moisés Monteiro de Melo Neto (2015), que estuda toda a poética jomardiana. Como principal intuito, a dissertação propõe compreender a poesia de Jomard Muniz de Britto como uma escrita em permanente movimento, caracterizada pela indisciplina formal, pela recusa aos binarismos, pela articulação entre literatura, filosofia e performance e pela elaboração de uma crítica cultural que tensiona discursos hegemônicos sobre a identidade brasileira, oferecendo uma leitura original de Terceira Aquarela do Brasil a partir da imagem da "serpente em vórtice" entendida como figura da movência, da transformação e da reinvenção contínua da linguagem e do pensamento.

In the Serra Talhada, a region strongly marked by sexist and LGBTQIA+-phobic social
practices, LGBTQIA+ men from Serra Talhada are affected by this regulatory and epistemic
system (Silva, 2022; Silva, Castro, Siqueira, 2020). This study seeks to investigate how these
individuals perceive the terms bicha and viado, which have historically been used as
derogatory slurs but are being reappropriated in contemporary contexts as identity markers.
However, this reappropriation process is not uniform, as it depends on various social factors.
The thesis focuses on examining the linguistic attitudes and beliefs of cisgender homosexual
and heterosexual men from Serra Talhada, Pernambuco, toward the vocatives bicha and viado
and explores how these beliefs and attitudes influence the identity construction of
LGBTQIAPN+ individuals. The research is grounded in Sociolinguistics, particularly in the
study of linguistic attitudes and beliefs, aligned with the third wave of sociolinguistic studies
and Social Psychology (Lambert & Lambert, 1972). Two instruments were used for data
collection: a questionnaire with objective questions to gather belief data and a Likert-scale
judgment test to assess attitudes. The study included 32 participants (16 homosexual and 16
heterosexual men), stratified by sexuality, age group, and education level. The results
obtained in this study indicate that we are dealing with a phenomenon that is significantly
influenced by one of the two variables, namely sexuality. It was observed that proximity to
members of the LGBTQIAPN+ community plays an important role in the formation of
beliefs. Furthermore, normative and structural factors interfere with the subjective evaluations
of LGBTQIAPN+ men and, consequently, with how their identities are performed in specific
contexts.

This study aims to analyze the processes involved in the development of
discursive capacities for argumentation through online comments produced on
the social networking platform Instagram by ninth-grade students in lower
secondary education. In line with the Brazilian National Curriculum Parameters
(PCN, 1998), the Curriculum Guidelines of Pernambuco (2012, 2019), and the
National Common Core Curriculum (BNCC, 2017), the study is justified by the
need to educate subjects who are able to take critical positions regarding social
issues circulating in the digital public sphere. Grounded in the field of Applied
Linguistics (Rajagopalan, 2003; Moita Lopes, 2006; Larré, 2016; Buzato, 2016),
the research problematizes the tensions and challenges involved in the
schooling of a discursive genre whose circulation is predominantly established
outside the school context, reflecting on the didacticization of online comments
(Matencio, 2001; Lerner, 2002; Suassuna, 2021; Barbosa, 2021).
The study is based on the assumption that young people already engage in
commenting and argumentation practices in online environments, and that the
role of the school is not to teach these practices per se, but to foster discursive
awareness of the argumentative processes mobilized within this genre,
especially in contexts of controversy. This is a qualitative intervention study,
anchored in a discursive and interpretive perspective (Bunzen, 2009),
conducted with two ninth-grade classes in a public state school in Pernambuco,
Brazil. Data were generated through questionnaires, field journals, discussion
circles, classroom interactions, and online comments produced by students
during three Language Workshops.
Data analysis shows that students employ a range of argumentative strategies
and discursive moves systematized in this study, such as ambivalence,
defense, confrontation, problematization, denunciation, and responsibilization,
even in brief texts characterized by the typical writing practices of social media.
The findings indicate that online comments, when approached from the
perspective of youths’ literacy practices, constitute a powerful genre for the
development of argumentative capacities in the school context, contributing to
meaningful learning and to the education of critical, reflective, and socially
engaged students.

The general objective of this study is to analyze the reconfigurations of reading
comprehension teaching and the retroactive effects (cf. Anderson and Wall,
1993; Scaramucci, 2004; Andrews, 2004; Cheng, 2004; Shohamy, 2006) of the
Pernambuco Educational Assessment System (SAEPE) as a large-scale
assessment instrument for Portuguese language teaching in state schools offering
the 9th grade of elementary school in the Southern Agreste Regional Education
Management (GRE-AM). To achieve this objective, the thesis seeks to
investigate external (international) and internal (national and local) factors that
contributed to the emergence of a performance assessment system in the state of
Pernambuco at the beginning of the 21st century, especially for evaluating
reading comprehension.This study is conducted within the field of
transdisciplinary Applied Linguistics (Fabricio, 2017), striving to engage with a
type of research grounded in a political-educational basis and in the concepts of
large-scale assessment for the context of Portuguese Language and reading
(Afonso, 2001/2013; Ball, 2001; Suassuna, 2007; Gatti, 2013; Freitas, 2014;
Werle, 2011; Bauer, 2015/2022), by the concepts of literacy (Rojo, 2009; Soares,
1995; 2001; 2009; 2020 Mendonça; Buzen, 2015) and retroactive effect (Bailey,
1996/1999; Anderson and Wall, 1993; Scaramucci, 2004; Andrews, 2004;
Cheng, 2004). The research methodology is qualitative in nature (Moita Lopes,
2006a; Amorim, 2017), prioritizing the analysis of various documents
(prescriptions for teachers, CAED evaluation journal, etc.), questionnaires, and
interviews with seven teachers who taught Portuguese Language in the 9th grade
of the public school system in the state of Pernambuco in 2023.As a result, the
research analysis revealed the complex nature of the SAEPE's feedback effect on
9th-grade Portuguese language teaching in state schools in the Agreste
Meridional region of Pernambuco. The collected data show a significant
feedback effect, which can impact content, methods, and pedagogical practices.
This effect can be positive, by promoting a deeper understanding of content, or
negative, by generating anxiety and excessive focus on assessment. The
influence varies in terms of specificity, intentionality, extent, intensity, and
validity of the effect (Watanabe, 2004; Alderson and Wall, 1993), affecting some
schools and teachers more strongly. The hypothesis that SAEPE has a feedback
effect on teaching was confirmed (Alderson and Wall, 1993), indicating that this
assessment alters teaching both through intentional preparation and through
indirect adaptation to the demands of the assessment.

This dissertation assesses the vitality of the Yaathe language spoken by the Fulni-ô
people, who reside in the municipality of Águas Belas, where the Fulni-ô Indigenous
Land is located. Situated within a historical context marked by more than four centuries
of intense contact with non-Indigenous society, the Fulni-ô people have preserved their
ancestral language as one of the main markers of ethnic identity, despite sociopolitical
and historical pressures that have promoted the erasure and silencing of Indigenous
languages in Brazil. This study maps the extent and frequency of Yaathe use across
different social domains, with particular emphasis on its transmission within the Family
and Community domains. The investigation is grounded in concepts of bilingualism,
diglossia, and language death (Weinreich, 1953; Fishman, 1966; Ferguson, 1972; Appel
& Muysken, 1987), and applies the Expanded Graded Intergenerational Disruption
Scale (EGIDS) proposed by Lewis and Simons (2010 [2009]) and UNESCO’s
Framework for Identifying Endangered Languages (Brenzinger et al., 2003), analyzing
their adequacy in relation to the sociolinguistic reality of Yaathe. Methodologically, the
research adopts a mixed-methods approach, combining a sociolinguistic survey (Babbie,
1999; Cooper, 1980) with participant observation (Shulist & Rice, 2019; Duranti et al.,
2011; Schieffelin & Ochs, 1986). Structured questionnaires were administered to collect
data on language use, comprehension, reading and writing extent, and language
attitudes. The results indicate that Yaathe is a living, functional language that is socially
and culturally significant for the Fulni-ô people, exhibiting stable and dynamic vitality
sustained by social and community practices, strongly articulated around interactions
related to cultural traditions. The language is used by all generations, although with
variations in frequency associated with age group, domains of use, and types of
interaction. Based on these findings, the vitality of Yaathe was evaluated according to
the EGIDS scale (Lewis & Simons, 2010 [2009]) and classified at Level 4 –
Educational, which characterizes it as safe. In contrast to the “severely endangered”
classification attributed by UNESCO (2010), recent quantitative data—such as the
proportional increase in speakers reported in the 2022 IBGE Census—combined with
the maintenance of usage domains and the qualitative analysis developed in this
dissertation, indicate that even when assessed according to the categories proposed in
UNESCO’s framework (Brenzinger et al., 2003), Yaathe could be classified as a
“vulnerable” language. This label describes languages used by most children, albeit
restricted to certain domains, a scenario that more accurately reflects the functional
coexistence of Yaathe with Portuguese. Although not free from challenges, Yaathe
presents a strong vitality profile, sustained by the community’s collective sense of
identity, robust family transmission, and continuous practice across multiple domains,
with particular prominence given to interactions related to cultural tradition in all
domains analyzed. For the proposed evaluation and classification, institutional support
for literacy and the progressive adaptation of the language to new media, technologies,
and platforms were also taken into account.

This doctoral thesis investigates how reminiscences of a colonial past are
established as a norm of coloniality in contemporary literary representation, encompassing the
dimensions of social life, work, sexualities, religiosity, and subjectivities; considering,
especially, categories such as “body” and “space” in the following novels: Água de Barrela
(2018a), Crime do Cais do Valongo (2018b), Nada digo de ti, que em ti não veja (2020), and
Solitária (2022), by the Brazilian writer Eliana Alves Cruz. Thus, this research has been
revisited the historical configurations of colonial slavery (Gorender, 2016), which was most
intense between the 16th and 19th centuries, when the abuses of trafficking enslaved people
from Africa to Brazil persisted. It has been also observed how such phenomena interact with
the temporalities of the present, traversing them through still persistent colonial vectors, such
as racism and exploitation in work environments with inhumane conditions, as it is the case of
the protagonist of the book Solitária (2022). In this sense, based on the concepts of
“coloniality of space” and “coloniality of the body,” key ideas of this work, it has been
proposed to broaden the boundaries of thought that demarcate the conceptions of “coloniality
of being, power, knowledge, and gender”, pointing out that both space and the body suffer
colonial intermittencies: 1) the space, when subalternized groups are deterritorialized from
their place of belonging due to their identity markers [the racial division of space, for
example, in the understanding by Lélia Gonzalez (2019)]; 2) the body, when outraged by
necropower and infectious diseases that populated the atmosphere of ships, the paths of
captivity, the corridors of sugar mills, and the desanitized alleyways through which, mainly,
black people passed. For this purpose, the following theoretical assumptions have been used
are: with regard to the dynamics of the contemporary novel and female authorship, it have
been discussed the approaches by Dalcastagnè (2012), Evaristo (2009), Figueiredo (2020),
Forster (2005), Hutcheon (1991), Miranda (2019), Morrison (2019), Woolf (2019), Zolin
(2009), among others; and, within the framework of critical colonial theory, it have been used
the proposals by Castro-Gómez (2005), Césaire (2020), Dussel (1977), Fanon (2002),
Ferdinand (2022), Gilroy (2012), Grosfoguel (2016), Mignolo (2003), Missiatto (2021),
among others. Therefore, it has became evident during the analysis of the literary works under
study that – despite the continuous colonial violence, epidemics, and the politics of death
legitimized by necropower – there has been a subversive agency performed by various groups
of characters, which encompasses various axes of the social sphere, generally co-opted by the
colonial apparatus: in the axis of religiosity, women considered witches, healers, and
demonized, carry out ruptures using ancestral knowledge to connect with the sacred and not
adhere to the imposition of Catholicism or the religious practices of the big house; in the axis
of labor, washerwomen, wet nurses, enslaved women earning wages, and domestic servants
are the protagonists of successive escapes from the tentacles of exploitation, sometimes
fleeing the plantations, sometimes buying their “freedom”; and in the axis of sexuality, gay
characters, transvestites, and prostitutes begin to transgress the moralizing values imposed on
them in that historical context.

The aim of this study is to contribute to academic research on methods for analysing video games based on literary works, referred to here as "video game adaptations". As a corpus to be used in the development of the analysis, we selected three adaptations of William Shakespeare's English classic Hamlet: Hamlet or the Last Game without MMORPG Features, Shaders and Product Placement (Denis Galanin, 2010), To Be or Not To Be (Tin Man Games, 2015) and Elsinore (Golden Glitch, 2019). The construction of this analytical lens is anchored in studies in the field of adaptation theory, with special emphasis on Hutcheon (2013) and her defence of adaptation as a creative process, a form of reception and a work with its own value, Sanders (2006) and her distinction between adaptation and appropriation, the latter being further removed from the adapted text, and Stam (2008), with his study on the political and ideological positioning of the adapter. Understanding video game adaptation also involves understanding what constitutes the game as a medium and language. Therefore, we highlight the importance of the contributions of Juul (2019) to the definition of the game, Salen and Zimmerman (2012b) to support the understanding of the game as a system, and Bogost (2007) for his defence of how interaction with a game system has the potential to construct meanings and discourses. As a method, we conducted a textual analysis (Belsey, 2013; Fernández-Vara, 2015), in addition to a bibliographic research on the theme of adaptation in games and a comparative study between the works in the corpus in order to understand their strategies when adapting the text of Hamlet, how they promote discussions and add experiences to this classic, and propose generalisations that can aid in the understanding of game adaptation as a cultural, artistic, narrative, literary, and aesthetic artefact. Considering the already noted lack of in-depth studies on literary adaptation in games (Stobbart, 2018; Cardozo; Mattar, 2017), this research hopes to contribute to highlighting the way in which video games can articulate elements of their systems, whether narrative or formal, to produce meanings about the adapted material, with the literary analysis of the source critically enriching both the gaming experience and its conception.

This thesis aims at identifying and analyzing rhetorical elements in the novel published in 1975, Lavoura arcaica, by São Paulo’s writer Raduan Nassar. Although constructed in a modern form, the romanesque (Lukács, 2009), the fictional text analyzed points to the presence of various notions pertaining to the Greek and Latin rhetoric, which is the case of such area (and those who make use of it) being the art of the word, that is, the art of well writing (Hansen, 2013; Longino, 1995; Cícero, 2017) and, also, the art of verisimilar effects (Hansen, 2013). Embracing many genres (Bakhtin, 2006; 2002) – sermon, parable and proverb –, Nassar, through three rhetorical operations, the inventio (invention), the disposition (disposition) and the elocutio (elocution) (Aristóteles, 2005; Cícero, 2009, 2017; Anônimo, 2005; Hansen, 2023), mobilizes, verisimilarly, the genre form, which, on its turn, is converted into a fictional sermon, containing the following rhetorical parts: demonstration, narration and epilogue. By the family’s patriarch character, the demonstration, in the sermon, is performed by means of arguments that come from the commonplace, such as proverbs (Jolles, 1976) and concepts. At the same time he attempts to moralize his children, the character’s ethos is forged in the narrative (Aristóteles, 2005; Cícero, 2009, 2014, 2021; Meyer, 2009; Quintiliano, 2015b) as being someone with authority (Aristóteles, 2005), virtue (Lebrun, 2009; Quintiliano, 2015b) and education in the right reason (Cícero, 2021). The language in the sermon is one of an elevated style, and is made with the use of figures, which is the case of the anaphora (Lausberg, 1967), the amplification (Anônimo, 2005; Cícero, 2009; Lausberg, 1967) and the metaphor (Vilela, 1996; Longino, 1995). Besides, fulfilling the function of example (Sant’Anna, 2010) to the sermon performed, the presence of the parable is also identified. André, the narrator character, who is also worth highlighting, in the narrative, aims at contesting the paternal worldview through a discourse that talks about identity, body, love and desire. It is, thus, in this opposite pole that the presentification of other rhetorical aspects is seen: such as that of the choleric feeling, which, in the novel, emerges compared to the ciceronian idea of morbus (disease) (Cícero, 2014) and, with regards to the style, of other figures besides metaphor and anaphor, which is the case of hyperbole (Aristóteles, 2005; Longino, 1995) and ambiguity (Ilari e Geraldi, 2006), on top of rhetorical questions (Barilli, 1979). Finally, it is possible to conclude that, given the presence of elements from the Greek and Latin rhetoric in Lavoura arcaica, it is possible to state that one can feel, in the novel, neoclassical nuance, despite its Romanesque form.

This thesis examines the narrative construction of Natalia Ginzburg through her antifascist work of memory, focusing on shipwrecked characters understood as figures shaped by historical rupture and ethical survival, and the experience of ruin within authoritarian contexts. The analysis centers on the novels All Our Yesterdays (1952), Family Lexicon (1963), and Dear Michele (1973), and is grounded in the hypothesis that distinct historical configurations of Italian fascism—the Fascist regime (1922–1945), its postwar memorial elaboration, and the anni di piombo of the 1970s—require specific narrative strategies capable of responding to transformations in historical experience. The first chapter examines the place of history in Ginzburg’s fiction, addressing fascism both as a historical phenomenon and as a problem of literary representation. Within this framework, the concept of antifascist memory is developed primarily through theories of collective and cultural memory. The second chapter analyzes the transformations of Ginzburg’s narrators, tracing the progression from the limited omniscience of All Our Yesterdays to the testimonial first-person voice of Family Lexicon, and culminating in the epistolary polyphony of Dear Michele. The third chapter develops the concept of the shipwrecked character, grounded in the metaphor proposed by José Ortega y Gasset and its later systematization, and examines how this figure operates across the three novels. The thesis argues that these works constitute, in analytical terms, an autobiographical antifascist trilogy, in which the autobiographical is understood not as individual confession but as the inscription of lived experience—often testimonial—within a collective network of resistance. Antifascism thus emerges not only as a thematic concern but as a formal refusal of narrative authoritarianism.

This thesis examines the autobiographical and experimental writing of Chris Kraus, focusing on her first three publications: I Love Dick (1997), Aliens & Anorexia (2000), and Torpor (2006). It is proposed that Kraus's work performs a systematic subversion of the boundaries of the ‘I’, promoting a dissolution of the authorial subject into an expanded field of historical, political, and affective alterities. To conceptualize this endeavor, I propose the concept of overexposure, with the aim of describing the aesthetic-political gesture of exposing personal experience to the point of blurring its contours, merging with other biographies, theoretical references, social contexts, and cultural landscapes. To this end, the research draws on contributions from feminist criticism and contemporary philosophy, as well as on concepts developed by Kraus herself in her autotheoretical writing, such as monstrosity, decreation, hyperspace, and parataxis. Some of the references include Simone Weil (2019; 2020; 2022), Georges Didi-Huberman (2015a; 2015b; 2018; 2019; 2021), Gilles Deleuze and Félix Guattari (2012a; 2012b; 2015), Luce Irigaray (1985; 2017), and Lauren Elkin (2024). Methodologically, a cartographic approach is adopted—inspired by the contributions of Deleuze, Guattari, and Suely Rolnik (2011)—which rejects linear analysis in favor of mapping connections, processes, and becomings. After situating the author's influences—primarily from the New York School—the analysis proceeds along three main axes: 1) feminine monstrosity as an aesthetics of excess and subversion of gender roles in I Love Dick; 2) decreation and hyperspace as technologies for the undoing of the self in Aliens & Anorexia; and 3) paratactic narrative and temporality in Torpor. Finally, it is concluded that Kraus's writing does not aim at the expression of a self, but at its disappearance through overexposure, generating a form of literary intersubjectivity in which the personal becomes indiscernible from the collective. The research contributes to studies on autobiography, autotheory, women's writing, and contemporary literature, proposing a critical model that emphasizes the porosity between life, art, and theory.

This doctoral thesis is based on the construction of a theoretical argument
focused on eroticism, based on the thesis principle that the libertine hero is a type
of modern character, whose function distorts the cognitive notion and adds a
semantic layer to literary theory and literary studies. In order to construct and
establish an argumentative process, two novels by the Marquis de Sade (1740-
1814) were investigated as literary materiality: Justine, or the Misfortunes of
Virtue (1791) and Juliette, the Prosperities of Vice (1797). Thus, through the
modulations of the Marquis de Sade, this thesis is concerned with constructing
tacit concepts about what the libertine and libertinage are, as well as tracing the
birth of libertine discourse within Europe. Thus, the central argument is to
construct a theory that encompasses the libertine as a central element of the
erotic narrative. Accompanied by this argument, the first part of this research
presents a genealogy of erotic literature, an exposition about the pornographic
book and market of the 18th century, as well as a defense that the Marquis de
Sade is part of Romanticism. Subsequently, it is of interest of this thesis, in the
second part of its body of text, to present the work of the French-American writer
Anaïs Nin (1903-1977), and her contribution to the erotic fiction of the 20th
century. In this way, this thesis seeks to understand how in the continuous novel
“Cities of the Interior” (1959), she establishes a notion of eroticism and female
characters that relate to female independence and the status of empowerment
and liberation that feminism promulgated in the 20th century. In addition, it has
recorded how the avant-garde is permeated as aesthetics within her novel,
drawing from surrealism, as well as alchemy for the composition of her novel. In
addition to the presentation and construction, there is a discussion about how the
avant-garde, especially surrealism, embraced Sade's erotic tendencies and
postulates and, consequently, the theory of the libertine character, bringing it to
the forefront. The third and last, called “Imaginary of Frivolity”, is an authored text
that synthesizes the thought of the thesis and libertinism through images, with a
reference to the postulations of Gaston Bachelard and Didi-Huberman. Three
moments centralized by threads of connection between the past and the potential
of the anachronism of images.

This dissertation adopts the theoretical framework of Discourse Analysis, in light of its founder, Michel Pêcheux (1938–1983), to investigate the discrepancy between two domains of knowledge within post-Pentecostal religious discourse: Christian and neoliberal forms of knowledge. These forms of knowledge are permeated by ideological disputes that operate within the Christian discursive formation and the discursive formation of prosperity theology. The aim is to reflect on the functioning of subject-positions within the religious-market discourse, through the speech of Bishop Edir Macedo, in order to observe how the enunciating subject relates, within this discourse, to the universal subject, and to identify in which discursive formation(s) he is inscribed. We observed that, as a spokesperson-subject of God, Bishop Edir Macedo continues to enunciate within the Christian discursive formation; however, as this formation is heterogeneous, the subject distances himself from the knowledge provided by the discursive formation that dominates him and appropriates forms of knowledge that operate within the discursive formation of prosperity theology. We also observed that Bishop Macedo adheres to the Christian discursive formation in order to assume the subject-position of spokesperson of the Christian God. Therefore, our analyses show that the enunciating subject, Bishop Macedo, identifies with the Christian discursive formation while simultaneously distancing himself from certain forms of knowledge within it, such as the notion of poverty, and begins to speak through the knowledge of the discursive formation of prosperity theology. By producing counter-identification, aligned with neoliberal ideology, he appropriates forms of knowledge from the discursive formation of prosperity theology, thereby occupying different subject-positions. Neoliberal forms of knowledge interpellate individuals as opportunistic, visionary, entrepreneurial, individualistic, and competitive subjects, among other characteristics. Thus, the notion of financial prosperity derived from biblical formulation, as rearticulated by Bishop Macedo, belongs to a process of simulation that inscribes within the discourse two of its most characteristic subject-positions: the subject-position of spokesperson of God and the subject-position of entrepreneur of faith. In this sense, we understand that the dominant subject-position assumed by Bishop Edir Macedo is not that of spokesperson of God, but rather that of entrepreneur of faith. Therefore, Bishop Macedo does not speak in the name of God, but in the name of the market that emerges within post-Pentecostal discourse, as the “messiah” of the world.

Among the theories that permeate teacher training, active learning is highlighted for defending a work focused on learner autonomy and non-teaching-learning process, or that is quite relevant, in opposition, in a focused learning, on a broad basis most of the time, in the dependence of students with relationships. a professor for the production of knowledge. It is for this reason that, in this article, I make use of Problem-Based Learning (doravante PBL), or, in Portuguese, Aprendizagem Basedada em Problemas. A type of methodology that involves constant research, autonomy in the search for knowledge and, consequently, the generation of learning meanings. In this work, this methodology focuses on seeking more precision to respond to problems related to Spanish language and culture, in addition to the policy of implementation of the teaching of Spanish language in Brazil, by means of the generation of meaning - which is understood by: tracing real meaning to learning, justifying or why the importance of a certain content and why it has a real need to be learned (FEUERSTEIN et al, 2014). This thesis has the general objective of showing the use of PBL in Applied Linguistics classrooms in the initial training of Spanish teachers to understand the significant knowledge (meaning) that this methodology offers in learning. The problem that arises is: How does PBL generate meanings in the learning of Spanish teachers in initial training? The theoretical reference is based mainly on: Bandura (1986); Thiollente (1986); Bakhtin (2002); Savin-baden e Major (2004); Barrows and Tamblyn (2004); Moita Lopes (2005); Cassany (2006); Araújo and Arantes (2009); Bakhtin (2011); Feuerstein et al (2014); Brazil (2017), Volóchinov (2017) and Mignolo (2020). As for the typology/methodology of research, this work takes two steps: both in bibliographical research and in academic research. To carry out the research, 12 female participants participated in the initial training course in Literature – Spanish, in the Applied Linguistics III course, of the State University of Paraíba (Campus of Campina Grande - PB). The work consists of launching three questions-problems for the teachers in initial training in Literature. The first question-problem related to interculturality; the second question-problem related to linguistic policy; and the third question-problem related to linguistics. The informants give the research 15 (fifteen) days to investigate, in different sources – scientific articles, videoclassrooms, books, interviews with natives, among other sources – as you answer these questions-problems for the researcher. The data are generated by learning feedback methods, using the following data generation procedures: a) self-assessment questionnaire; b) narratives from investigative diaries; c) argumentation by teachers in initial training in debates, in the classroom, after the research has been carried out; and d) socioeconomic questionnaire with the research informants to understand what socioeconomic condition the informants are in at the time of the research. The categories of analysis are divided into: structural cognitive modifiability, motivation and dialogism, aspects that we say respect the scope of meaning in learning. The results obtained are: 1. As teachers in initial training will modify their cognitive structure, as they carry out their research in different sources of knowledge, this was verified by means of their initial and final knowledge. 2. In some moments, the teachers in initial training will feel motivated by the research and, in other moments, not, since this depends on the content of the question-problem presented and the moment it was launched (if it does not start or end the intervention) and 3. The voices that compose the narratives in the diaries of research (interviews with native speakers, authors of works, authors of scientific articles, professors in video classrooms, among others) will form a set of voices that will favor the informants to achieve their cognitive modifiability in relation to their initial knowledge. All these three categories of analysis make it possible to generate significant knowledge (Feuerstein et al., 2014).

This thesis, grounded in Pêcheuxian Discourse Analysis, examines the public speeches delivered by former Brazilian President Jair Bolsonaro during his presidential term. To address the proposed objectives, I draw upon theoretical notions such as the subject, the two forgettings, position-taking, cynicism, perversion, and argumentation in order to determine, through the analyses, whether there is indeed a discursive functioning that operates closer to the order of consciousness in the discursive processes investigated in this study. In this regard, the starting point is Pêcheux’s (1969) notion of the rejected zone, which provides the basis for examining how discourses that were previously unspeakable become speakable through the intersection of the social position and the position of enunciation occupied by the President. The corpus consists of a temporal selection of public speeches delivered throughout Bolsonaro’s presidential term, focusing on religious discourse, statements that materialize ideology as an enemy, and speeches that challenge scientific knowledge. Through selected excerpts from these speeches, delivered by the former president across a variety of settings and media, two types of discourse are identified: official and unofficial discourse, distinguished by the greater freedom of expression displayed by the former president in more or less formal situations. Drawing on the notion of cynicism as proposed by Baldini and Di Nizo (2015), perversion as understood by Freud (1927) and Roudinesco (2007), the fluid boundaries of the two forgettings discussed by Indursky (2019), and argumentation as conceived by Orlandi (2024), I trace a theoretical-analytical framework that explores the functioning that approximates the order of the conscious, and how such functioning operates in the selection of knowledge within the discursive thread. What we observe, from the analyses carried out, is that the former president's discourse operates through the destruction and reconstruction of meanings, in a paradox where the very place that grants him power – that of President – is also the place he wishes to corrupt, thus twisting the limits of democracy. In the game for control of meanings, cynicism and perversion operate, pointing to an argument of chaos, which operates under the purpose of destroying the other and exploiting the limits of the law. The discursive functions highlighted here seek to resignify meanings and construct a version of reality in favor of the one who occupies the place of president: his role is not that of a democratic leader, but rather that of an unquestionable dictator. By considering the presence of a conscious instance in the discursive process, the proposal of a new position-taking demonstrates that, within cynical and perverse modes of functioning—even though the subject is constituted by the unconscious—there exists a space, at the intersection of the social position and the position of enunciation, within the subject’s relationship to ideology, that operates closer to conscious functioning. Accordingly, this study demonstrates that there is theoretical room for exploring the role of consciousness within Discourse Analysis and argues that such functioning, as examined here, takes place through a position-taking other than those traditionally proposed in the theory, which I call here forged-identification. This notion accounts for the production of otherwise unspeakable discourses from the presidential position of enunciation.

This thesis investigates the configurations of contemporary narrative by arguing that the presence of digital elements does not constitute a radical break from the textual itself, but rather represents an explicit manifestation of operational principles already at work within literature itself. Grounded in a concern for the materiality of the literary, I propose, through an analysis of literary examples drawn from late 20th century, that a machinic and procedural character has long been linked to a logic manifested in the interactivity and performativity of reading. In an attempt to map this genealogy, the first part of the thesis establishes an arc that ranges from text to device, mobilizing theorists who understand the literary act as a technical practice (Barthes, 2004, 2007; Derrida, 1987, 2003). This is done by examining three works that perform this awareness of writing as an operation: Italo Calvino's If on a winter's night a traveler (1979), David Sudnow's Pilgrim in the Microworld (1983), and Douglas Coupland's Microserfs (1995). In these works, the book, the body, and the subjectivity are approached as meaningprocessing machines, revealing a literature that already conceives of itself as an interface (Hayles, 2002; 2005). In the second part, I transpose this genealogy into the field of electronic fiction, positioning adventure games as a genre as heir to this operative tradition. Drawing on the concept of expanded fiction (Krauss, 2008), I analyze three 21st-century games from this genre – Blackwell Series (2014), The Red Strings Club (2018), and Kentucky Route Zero (2013) – as narratives that operate simultaneously on textual, gestural, and technical conceptual planes. These exemplifications will be examined using analytical tools that conduct shiftings in textual references: intertextuality and metafiction (which re-inscribe literature), intermediality (which expands the text across other media), and the capacity for the reconfiguration of textualities (which transforms reading into potential). Through this analysis, I seek to inhabit a theoretical in-between space that posits that digital aesthetics reconfigure the universe of the literary text, manifesting the machine that the book itself once already contained. Ultimately, my thesis argues for a creative continuity between literature and technology, where the permanence of the literary resides in its capacity to adapt to new media and languages.

Non-fiction literature, which in Brazil came to be recognized as romance-reportagem (reportage-novel), is a genre that, despite its popular acceptance and its power as a vehicle for social denunciation, is still regarded with suspicion for being a hybrid, border-crossing genre. In order to cast a gaze upon this genre that escapes the dichotomy between its status as journalism or literature, the present thesis proposes to observe it from its own characteristics as a linguistic fact with a life of its own and rich in possibilities. Thus, our main objective is to analyze theoretical movements that relate language, literature, and journalism, within the fabric of a stylistics of violence, in the contemporary context, as one of the foundational drivers of Roberto Saviano's authorial potentialities in the construction of his reportage-novel. In all of his works, and especially in those we will study below, we see that the theme of violence is present as a backdrop, whether expressed through the violence of the mafia, the violence stemming from drug trafficking, the violence of wars, among other types. And here we arrive at our research problem: the investigation of the stylistic components within Roberto Saviano's utterance, marked by the theme of violence, in a type of genre that blends the expression of the author's subjectivity with the rigor of journalistic investigation. Drawing on the concepts developed by Bakhtin and the Circle as our theoretical framework, we will seek to transcend the literary and journalistic distinctions surrounding the reportage-novel in order to focus on the enunciative-discursive aspects of the works under study, ranging from expressive intonation to the more axiological side of authorship and the construction of utterances through the citation of others' discourse. Our working hypothesis is that, more than a genre suited to addressing violent cases and denouncing social problems, what is sought within the reportage-novel points toward a particular stylistics — or, more specifically in the case of the works studied here, a stylistics of violence — in which the author's communicative project and the social horizon feed back into one another within a broader context. In this qualitative research, we will proceed with a Bakhtinian-based discursive analysis of two works by the aforementioned author (Gomorrah, 2006, and ZeroZeroZero, 2013), positioning each work in relation to its context of production and examining how it engages in dialogue with the socio-discursive reality of the twenty-first century.

This study, grounded in the Pêcheuxtian tradition of Discourse Analysis, examines the processes through which meaning is produced in Jair Bolsonaro's discourse, focusing on the relationship between image, memory, and ideology through posts published on his official Instagram account. The analysis is based on the notion of the media event, understood as public statements that, once widely circulated and amplified by the media, produce meaning effects marked by shock and contradiction, becoming inscribed in discursive memory and turning into objects of interpretive dispute. In other words, these statements generate shifts within the discursive field and remain as enduring traces in social memory. In contrast, Instagram posts construct what I call fabricated images, which function as alternative narratives and reconfigured versions of a media event. These images may produce silences and resignifications that seek to minimize, or even erase, the contradictions established in the public statements. To compose the corpus of this dissertation, a thematic selection was made focusing on Bolsonaro's relationship with women, in order to analyze the sexist and misogynistic position assumed by the former president. The analyses demonstrate that, in response to these media events, Instagram posts operate as a space for the production of fabricated images, through which alternative narratives and reconfigured versions of reality are constructed. This constitutes a discursive process that seeks to erase or silence the sexist and misogynistic meanings established by the public statements, producing what Pêcheux calls the historically unrealized—that is, a narrative that creates an effect of truth about what did not occur while attempting to silence what was actually said. Thus, the study demonstrates that discursive struggle not only reflects political conflicts but also materializes in the active fabrication of images, revealing the role of discourse in the rewriting of events and in sustaining ideological projects.

Esta pesquisa apresenta uma análise sobre as narrativas que evidenciam as vozes dos
subalternizados. O objeto deste estudo é o romance “Perro Viejo” e o livro de contos “Awon Baba” da
escritora afro descendente cubana Teresa Cárdenas. O romance e os contos apresentam como tema
central a escravização de negros africanos em Cuba e as relações na zona de contato de controle
colonial e resistência escrava. A autora utiliza a ficção para resgatar uma memória coletiva apagada
de descendentes de escravizados que, por muito tempo, só conheciam uma história oficial baseada
nos interesses hegemônicos dos conquistadores. As análises desenvolvidas foram ancoradas no
Pensamento do Rastro/Vestígios de Memória do teórico martiniquenho Édouard Glissant (2005),
Dionne Brand, e nos estudos críticos de Homi K. Bhabha (1998), Aníbal Quijano (2005), Bill Ashcroft,
Garret Griffiths e Helen Tiffin (2007), Johan Galtung (2009), Thomas Bonnici (2009) e Mary Louise
Pratt (2010). Este estudo consistiu em uma análise bibliográfica comparativa e qualitativa e
apresentou a seguinte pergunta norteadora: O pensamento do Rastro/Resíduo de memória
identificados no corpus selecionado pode contribuir para o fortalecimento de identidades
afrodescendentes? Os resultados encontrados no corpus deste estudo, apontaram que os Rastros
de Memória constituem um importante fator de transmissão de memória coletiva. Concluímos que a
oralidade e a literatura de narrativa negra decolonial, através do resgate da memória coletiva
contribuem para a continuação do legado cultural e fortalecem a identidade de povos
afrodescendentes.

The dissertation aims to analyze the novel Pão de Açúcar (2018), by Portuguese writer Afonso Reis Cabral, a work that fictionalizes a hate crime that occurred in the city of Porto in 2006, focusing on the narration of the crime from the perspective of the killers who commit it. On that occasion, Gisberta Salce Júnior, a Brazilian transgender woman, homeless and HIV positive, was murdered by a group of teenagers, the crime being a clear act of transphobic violence, classified by the Portuguese Court as a mere death by drowning. In this sense, within the perspective of memory studies and gender studies, the objective is to carry out an analysis of this work seeking to understand its insertion as a literary creation that fictionalizes the crime from the male point of view, in addition to understanding how it is constructed the narrative based on a collective memory related to masculinities that is inserted in the gender discussion proposed by the present study. In this way, the dissertation intends to carry out a study of the representation of the trans character, Gisberta Salce Júnior, and the construction of masculinities based on an analysis of teenage killers, highlighting issues of gender, marginality, transphobia and violence, when approaching the representations of the characters. Rafael Tiago, Samuel, Fábio, Nélson, Leandro and Grilo. To this end, the dissertation will use the considerations of Márcio Seligmann-Silva (2022), Walter Benjamin (1987), Aleida Assmann (2011) etc. about issues relating to memory and representation studies, and Bourdieu (2002), Foucault (2013), Fausto-Sterling (2000), Connell (2016) Bento (2015, 2017), among others, on gender issues linked to masculinity, transgenderity, power and marginality.

This paper aims to systematize the assumptions of Ana Cristina Cesar's (1952-1983) critical activity in newspapers and magazines between 1975 and 1983. We intend to observe the programmatic lines that guide the analysis of the works, highlighting recurring traits in her approach, as well as deduce a possible underlying conception of literature, that is, which elements the author observes as favorable/unfavorable to the works and the respective reasons she presents. In our analysis, we also looked at the relevance of the materiality of the texts for their meaning, focusing on a distinct cultural moment, under the repression of the Civil-Military Dictatorship, in which a large part of Ana Cristina's critical essays were published in so-called underground press, some of which – due to their tabloid format – were also known as the “small press” (Kucinski, 1991; Camargo, 2012; Braga, 1991). These media outlets represent an important initial moment in which the author forged a style of literary criticism, to occupy, at the end of her life, more prestigious periodicals. In this regard, we highlight the contextual characteristics of each vehicle in which the author published, namely: Opinião, Beijo, RevistaColóquio/Letras, Almanaque - Cadernosde Literatura e Ensaio, Jornal do Brasil, Folha de S. Paulo, Leia Livros, Veja and IstoÉ. The established theoretical-methodological path considers Ana Cristina Cesar's critical work of a “first phase”, in underground press, to read the critical work of a possible “second phase”, in more prestigious periodicals, organizing and testing the limits of this division. The consideration of the vehicle as a relevant point for reading the texts is guided by the contextual reflection on literary criticism in Brazil, developed by Rocha (2013), and by the investigation of underground newspapers from the 1970s/80s (Bosi, V., 2021; Kucinski, 1991), which also reflects the impacts of prior censorship on the press (Kushnir, 2012); in addition, the theoretical-methodological path is reinforced by considering previous research on the work of the author in question, such as Camargo (2003), Pontes (2020), Boaventura (2007), Süssekind (2016) and Masutti (1995).

Estudos realizados no âmbito da sintaxe comparativa, seguindo a perspectiva da gramática gerativa, mais especificamente, o Modelo de Princípios e Parâmetros (CHOMSKY, 1981, 1986 e seguintes), observam que há línguas em que a posição sujeito é preenchida por uma categoria vazia (a saber: línguas de sujeito nulo (pro-drop) como o italiano e o espanhol) e línguas em que essa posição deve ser ocupada por sujeitos plenos (a saber: línguas de sujeito não-nulo (não-pro-drop) como o inglês e o francês). No caso do português brasileiro, ao contrário do espanhol (língua de sujeito nulo consistente), trata-se de uma língua de sujeito nulo parcial (HOLMBERG; NAYUDU; SHEEHAN, 2009; KATO; DUARTE, 2014) pelo fato de os sujeitos nulos estarem submetidos a algumas restrições. Nesta pesquisa, ao centrarmos a atenção no uso dos pronomes pessoais sujeitos (se nulos ou plenos) na aquisição do espanhol por estudantes brasileiros, em particular, na produção oral e escrita de graduandos do Curso de Letras/Espanhol da UFPE, analisaremos o comportamento dos sujeitos, levantando como hipótese que, nos primeiros períodos desse curso, é possível que haja uma maior produção de sujeitos plenos produzidos nas duas modalidades no espanhol adquirido como L2 em virtude da interferência de propriedades de sua L1, o PB, com o qual essa L2 entra em contato, indo na direção do que defende Rosa (2017), ao passo que, nos últimos períodos, é possível encontramos mais nulos do que plenos conforme previsto na língua-alvo, o espanhol, pelo fato de os estudantes estarem com um tempo bem maior de exposição ao input dessa língua. Para tanto, o corpus foi composto de contextos declarativos finitos cujos dados foram codificados a partir de variáveis selecionadas em estudos prévios sobre o Parâmetro do Sujeito Nulo no PB e no espanhol (DUARTE, 1995, 2000; SANTOS, 2019). Neste trabalho, foram selecionados 255 dados da língua escrita para posterior comparação com os dados da língua falada. Feito isso, foi possível realizarmos, inicialmente, uma análise quali-quantitativa desses dados e explicarmos os resultados sob o viés do Modelo de Princípios e Parâmetros (CHOMSKY, 1981 e seguintes). Os resultados obtidos até o momento sinalizam que, nos primeiros períodos do curso, o espanhol adquirido como L2 apresenta uso mais frequente de sujeitos plenos na escrita, comportamento que pode ser atribuído à influência da gramatica internalizada da L1, que parece interferir na escolha dos pronomes no espanhol

This work is situated in the field of contemporary Applied Linguistics (AL), understood as undisciplined and committed to the social dynamics in which language manifests itself (Moita Lopes, 2006; Pennycook, 2023), and aims to reflect on the construction of a digital teaching prototype (Rojo, 2012, 2013, 2017) based on the Pedagogy of Multiliteracies (Cope; Kalantzis, 2012), in which I used narratives from the fictional universe related to the digital game League of Legends (LOL) as a pedagogical resource for teaching Portuguese Language in high school. The research stems from my concerns as a teacher and applied linguist in training, raising questions about traditional approaches to language teaching and the limited integration between theory and pedagogical practice in teacher education. The choice of the game is justified by its familiarity among young people and the richness of discursive genres on digital platforms involving multiple languages. The central objective is to investigate how such pedagogical material can contribute to a more dynamic Portuguese Language teaching, aligned with students’ cultural practices. To achieve this goal, I established the following specific objectives: (i) to analyze the activities proposed in the prototype based on the knowledge processes of experiencing, conceptualizing, analyzing, and applying (Kalantzis, Cope, and Pinheiro, 2020), highlighting the possibilities of integration between theory and teaching practice; (ii) to verify how the various activities in the teaching prototype, organized into routes to contemplate different knowledge processes, can contribute to a high school teaching approach that considers the heterogeneity of young people. These objectives were constructed with the understanding that, in the context of contemporary AL, scientific practice must be committed to the social subject, recognizing them as part of the process and being attentive to the responsibility of promoting research that is responsive to social life. This is a central principle of this dissertation. The analysis revealed that the prototype, structured into three learning routes, constitutes a set of multiple and integrated materials in which students choose paths according to their interests, reading profiles, and cultural experiences. Each route was designed based on the idea of different learner profiles: the Exploration Route, focused on adventure short stories; the Strategy Route, centered on the fanfic genre; and the Collaboration Route, focused on the collaborative production of character profiles. Each route mobilizes the knowledge processes in a non-hierarchical way, with different emphases along the paths; it also contributes to varied forms of engagement and meaning-making, respecting the heterogeneity of learning processes, cultural repertoires, and ways of understanding. It is concluded that the construction of the prototype and this dissertation constitutes a practice traversed by the four knowledge processes; that the material presents itself as a space of authorship, listening, and invention, opening up to the participation of students as co-authors and to the unpredictability that characterizes teaching; and that the emerging concerns point to the urgency of a critical, interdisciplinary teacher education, sensitive to the transformations of the educational landscape and to the ongoing commitment of AL as an ethical field responsive to social life and the subjects who constitute it

Anchored in the theoretical-methodological foundations of Materialist Discourse Analysis by Michel Pecheux (1988, 2010, 2015) and Eni Orlandi (1984, 1995, 2012, 2015), this research aims to analyze the ways in which the poetics of estrangement in theatrical (com)position produce, through the rupture, a disarticulation of stabilized senses. To this end, I invest in two directions: understanding how the (de)construction in the subject-actor’s body, in tension with other signifying materialities (LAGAZZI, 2009) in scene, activates the alienation effect (BRECHT, 1967, 1974, 1978, 1966, and 1970), and understanding how, in/through the friction between the strange and the familiar (LACAN, 1962), the alienation effect acts on the subject-spectator. The material selected for analysis is the theatrical performance A Hora da Estrela ou o Canto de Macabea, directed and adapted by Andre Paes Leme from the novel by Clarice Lispector. Methodologically, I approach the play assuming the gaze (DIDI-HUBERMAN, 1998) as an anchoring instrument (LAGAZZI, 2017) capable of delimiting (ORLANDI, 1984) the material and outlining, in the movement from tessitura to weave (NECKEL, 2010), possible analytical paths for visual formulation. In my analytical gestures, I sought to grasp the structural aspects and structuring conditions that bring about, in the contradictory articulation between the body and its surroundings, estrangement as an effect of rupture through which material intricacy stretches to an equivocal functioning, thus signaling toward the other of senses.

This dissertation begins with the observation that, throughout the processes of Conquest and Colonization of America, Demonology was on the rise in the western world and became one of the theological frameworks that shaped the actions of religious figures active in Colonial Peru. It thus constituted a paradigm through which Andean cultural and religious practices were apprehended and served as the foundation for the campaigns of Extirpation of Idolatries developed in the region. This study analyzes the configuration of the demonological discourse constructed over the Andean territories between the 16th and 17th centuries, situating it within the broader panorama of the demonization of Colonial America (Cañizares-Esguerra, 2008, 2018; Mello e Souza, 1993). Methodologically, we focused on a corpus of a documentary nature composed of a set of writings produced by religious figures (chroniclers and extirpators) active in the Viceroyalty of Peru during the aforementioned period, namely, Cristobal de Molina, Cristobal de Albornoz, Pablo Jose de Arriaga and Pedro de Villagomez, which were analyzed in light of researches from the fields of Socio-Cultural History, Cultural Anthropology, and Decolonial Thought. Throughout the dissertation, we examine distinct forms of representation of the New World, as well as conceptions of Evil within the Western imaginary; we discuss the role of European demonological discourse in shaping representations of the Taki Onqoy and its connection to the emergence of the Extirpation of Idolatries carried out in Colonial Peru; we contextualize the selected narratives within the broader construction of the “diabolical America” imagined since the 16th century; and we describe how and under what circumstances the demonic was believed, by religious authorities, to persist in the Andean territories. Our discussion is supported by the contributions of Jean Delumeau, Laura de Mello e Souza, Jorge Cañizares-Esguerra, Nicholas Griffiths, Iris Gareis, Irene Silverblatt, Pierre Duviols, Claudia Brosseder, Ana Raquel Martins Portugal, Marcio Pimentel Rocha, Flavia Ribeiro Amaro, Enrique Dussel, Anibal Quijano, and Walter Mignolo. The main results indicate that the heterological-demonological discourse of Molina and Albornoz regarding the Taki Onqoy was constructed through the transposition and (re)formulation, in the Andean context, of four demonological categories from the Western imaginary, namely, demonolatry, superstition, witchcraft, and sorcery. These categories are evident in the analyzed narratives, served as the foundation for the logic of extirpation, and supported the imposition of the coloniality of the sacred in the Andean territories.

This work is a study of sixteenth-century Portuguese on the variation in the agreement of the copula "ser" in nominal sentences with the structure NP-ser-NP, specifically in cases where there is incompatibility between the number and/or person features of the noun phrases present in these structures (e.g., "the cause of the revolt is/are the photos on the wall"). Variation in the agreement of the copula in predications of nominals is a phenomenon attested in several languages, such as modern Italian, German, Dutch, Icelandic, and Faroese (cf. Moro, 1997 for Italian; Hartmann; Heycock, 2020 for German, Dutch, Icelandic, and Faroese). In the generative literature, the possibility of variation has often been related to so-called specificational sentences and the phenomenon of predicate inversion, due to the non-canonicity of the copula agreement with NP2 in subject-initial languages. We observed that in sixteenth-century Portuguese, the same possibility of "inverse" agreement with NP2 is found in limited contexts, not necessarily related to specificational structures. Studies on Classical Portuguese (PCl), of which sixteenth-century Portuguese is a part, have adopted a perspective of syntactic movement of the verb and fronted constituents toward the CP domain (Torres Morais, 1995; Paixão de Sousa, 2004; Gibrail, 2007; Antonelli, 2008). Given this scenario, we sought to describe the data found and present possible paths for their analysis within the Principles and Parameters model in its minimalist version (Chomsky, 1995). We also consider semantic aspects specific to nominal predication discussed by Mikkelsen (2004; 2005; 2011) and Raposo (2013), as well as questions related to verbal agreement in the past tense of Portuguese, presented mainly based on the work of Mattos and Silva (1989; 2002; 2006).

This research addresses the subjective evaluation of linguistic variants, based on the survey of beliefs and attitudes regarding variable phenomena of languages, especially regarding the attribution of prestige and stigma. The central focus lies on the form of reference to the interlocutor within the variety of Portuguese, which is a notoriously variable phenomenon. The main objective of the thesis is to investigate the existence of social values associated with stigma and prestige in relation to verbal agreement patterns by applying attitude and belief assessment tests to Guinean students at the University of International Integration of Afro-Brazilian Lusophony (UNILAB-CE), with the purpose of investigating the existence of social values associated with stigma and prestige in relation to verbal agreement patterns. The choice of Guinea-Bissau Portuguese (PGB) for analysis is justified by the scarcity of linguistic studies dedicated to this variety and by the need for a more in-depth description of the language in the context of its socio-historical reconstruction, considering linguistic interactions, social attitudes and functional and formal aspects. To this end, we used the theoretical and methodological frameworks of Variational Sociolinguistics and Linguistic Attitude Studies, correlating the phenomenon of verbal agreement with linguistic and extralinguistic factors. The data collected reveal that: (1) PGB is widely used in the school environment, where its use is mandatory, while Guinean stands out as the main mediating language in the teaching-learning process, although it does not have an authorized formalization; (2) The verbal agreement patterns in PGB present differences in relation to traditional norms, with a morphological plural marking that is not required for all elements; (3) The analysis of verbal agreement in the spoken language of PGB shows significant variability, with 92% of occurrences presenting the standard form and 8% the non-standard form; (4) Although the participants' identity construction was mostly linked to Guinean, their subjective evaluations of PGB were mostly positive, indicating recognition of PGB as a legitimate variety, influenced by linguistic contact. The results of the belief tests reveal that: (1) The power dimension suggests a prestige attributed to European Portuguese, related to the feeling of belonging to the colonizer's language; (2) The grammatical dimension shows a significant acceptance of the standard norm among all groups of evaluators. This investigation, therefore, not only broadens the understanding of the linguistic dynamics of PGB, but also contributes to the appreciation of its particularities in the context of linguistic contact and identity formation.

In this study, we analyze 23 texts through the lens of the Appraisal System. The selected texts contain farewell messages, specifically texts written by people who committed suicide. Based on the linguistic choices of the authors, we aim to identify evaluative elements that reveal the authors' positioning regarding things, people, and their final moments in life. For this investigation, we rely on Systemic-Functional Linguistics (HALLIDAY, 1985, 2002), which establishes three Metafunctions of language, essential for the instantiation and production of meaning in a text. Originating from one of these Metafunctions, we highlight Appraisal, a discursive system that analyzes the types of attitudes negotiated in a text, the intensity of the feelings involved, and the ways in which values are conveyed (MARTIN; ROSE, 2003). Understanding that Appraisal realizations demonstrate the values discussed and accepted in discourse, highlighting the dynamics of power and solidarity present in the context (MARTIN; WHITE, 2005), and that these manifestations are reflected in linguistic structures such as qualities, processes, or observations (VIAN, JR. 2023), our primary objective is to investigate the main lexico-grammatical factors found in the selected material, identifying the primary attitudes negotiated in the texts, the positioning of the authorial voice in relation to other voices that may arise, and the gradation of the evaluations made. The analysis is conducted, therefore, by identifying and categorizing evaluative elements in the texts, while considering the medium of dissemination, the temporal period, the information contained in the messages, as well as extratextual information. The results of this research indicate that the evaluative manifestations present in the messages reflect values inherent to the context in which they were produced. The negotiated attitudes, then, vary according to the thematic groups (sentimental, social, and pathological causes) developed, evidencing factors that demonstrate that lexico-grammatical choices are influenced by contextual aspects, revealing different nuances in the way evaluations are expressed.

This study aims to analyze aspects of cangaço in Pedra Bonita and Cangaceiros, novels written by José Lins do Rego, as well as the influence of string or “cordel” literature from the early twentieth century the author had in their production. For that, we collected a historiographical, sociological and biographical bibliography regarding cangaço, of which, the studies carried out by Frederico Pernambucano de Mello and Élise Grunspan Jasmin. Posteriorly, the analyses of testimonials, documents and depositions of social actors related to cangaço. Studies on memory, trauma and violence, including those carried out by Aleida Assmann and Ecléa Bosi, will provide interpretative support for the testimonials and depositions, specifically related to characters from Pedra Bonita and Cangaceiros, besides literary theory studies of authors such as György Lukács, Fredric Jameson and Terry Eagleton, and studies of the tragic conducted by Sandra Luna. With regard to data collection related to cordel literature and popular troubadour chansons, mainly those focused on cangaço, we relied on specific bibliography about oral poetry and cordel and string literature, such as the surveys carried out by Luís da Câmara Cascudo, Paul Zumthor, Julie Cavignac and Márcia Abreu. Collection of the bibliography of João Martins de Athayde and cordel authors. Influence of cordel literature in the literary production of Pedra Bonita and Cangaceiros, as well as the influence from other novels. Influence of cordel literature in the media about banditry, besides the influence of classical poetry. Comments of José Lins do Rego about the production of these novels. The critical fortune about José Lins do Rego, observing older and recent studies, such as those conducted by José Aderaldo Castello and Sônia Lúcia Ramalho Farias, also essays of the author regarding the banditry subject, which also include comments about the process of production of the two novels. The literary and theoretical background that would have inspired the production of the novels will be assessed, such as those written by Tristão Alencar de Araripe Júnior, Antônio Áttico de Souza Leite, Rodolfo Teófilo and Carlos Dias Fernandes, following the preexisting analyses with the proposition of potential influences that are still not approached by the criticism. The Reader-response criticism is used to reinforce the apprehension of such conceptualizations as real, fictive and imaginary.

As a movement that crosses languages and historical contexts, the detective novel and film noir have evolved over time, adapting to cultural changes and new narrative platforms. In this context, this thesis aims to discuss how The Alienist (2018), both in its literary version by Caleb Carr and in its television adaptation, reconfigures these genres through an approach that integrates psychological, sociocultural, and aesthetic issues. In the novel, the psychological aspects are deeply rooted in the serial killer's modus operandi and in the investigative characters' dilemmas, referring to the psychological novel of the naturalist tradition. In the series, the noir aesthetic manifests itself in the use of visual elements such as shadows, dramatic lighting, and oppressive settings to create an atmosphere of tension and mystery. Using a comparative and interdisciplinary methodology that integrates studies of adaptation (HUTCHEON, 2013; STAM, 2006), audiovisual narrative (ESQUENAZI, 2010; JOST, 2007), psychological novel (PONTON, 1975) and noir as a sociocultural reflection (MASCARELLO, 2006), this thesis explores how the narrative and aesthetic transformations between the novel and the series reflect and amplify debates about the historical context portrayed and its reverberations in contemporary times. The Alienist (2018) exemplifies how fiction can function as a critical tool for rethinking cultural, ethical and social values.

Aligned with the interdisciplinarity that defines Brazilian Textual Linguistics (LT), this thesis seeks to contribute to advancing discussions that bridge LT with Alain Rabatel’s (2016; 2021) theory of Point of View (POV). Rabatel’s notion of POV extends beyond the literary concept of narrative focalization, giving it an enunciative-interactional dimension that enables its application to textual-discursive analyses. In this perspective, the POV highlights the textual construction of discourse objects, consistently associated with a center of perspective. Building on this understanding, Cortez (2011) demonstrates that POV is a productive theoretical framework for examining text argumentativity, particularly when combined with LT’s analytical categories. Extending her proposal, our research takes a further step by treating POV as an analytical category of textuality. We, therefore, consider POV a transversal textual-discursive category, intersecting and materializing through other categories. This study focuses on the relationship between POV and intertextuality, exploring how textual dialogue contributes to representing perspectives, thoughts, actions, and opinions. Generally, we conceive intertextuality as a textual-discursive phenomenon encompassing relationships between texts, genres, and styles (Cavalcante; Faria; Carvalho, 2017; Carvalho, 2018). Contemporary LT research has examined intertextuality not only in primarily verbal texts but also in multimodal ones (Carvalho, 2018; Mozdzenski, 2016), given that multisemiosis is seen as inherent to text, along with argumentation (Dionisio, 2007; Cavalcante et al., 2020). Despite the strides made by Brazilian LT, analyses connecting LT and POV largely address verbal semiosis. Aiming to address this gap, we analyze how intertextuality is mobilized to construct POV in digital electoral advertisements—texts rich in multisemiotic elements—published on YouTube during the 2022 presidential campaign. Our analyses reveal that visual and sound elements complement linguistic ones in producing meaning within these ads, playing a fundamental role in establishing intertextual relations through which the POV of the enunciators involved are multisemiotically conveyed. 

Our work proposes an investigation into the representation, in contemporary Brazilian novels, of the spectral and insidious persistence, in today's democratic sociability, of structures originating from the period of the Brazilian civil-military dictatorship - the so-called ghost of the dictatorship (Safatle; Teles, 2010). There is a kind of recurrence and thematic continuity on the subject in our most recent narratives (Welter, 2015), demonstrating the existence of a group of works that, using the memory of fictional characters as a formal organizing principle of the diegesis, literarily reworks possible meanings about the permanence of that specific past today. Without losing sight of the constancy of these structures in the present, these novels explore different spheres of social life affected by this heritage, contributing aesthetically to a process of individual and collective elaboration that is still open - a set of works that we call combined and varied. Based on research into the mechanisms of mechanisms of individual memory (Assmann, 2011; Jelin, 2002; Gagnebin, 2006) and its relationship with the literary field (Sarlo, 2005), combined with the theoretical apparatus of dialectical criticism, which articulates social processes and literary forms (Candido, 2006; Schwarz, 2012), we propose a critical reading of two novels belonging to the aforementioned set, namely Não falei (Bracher, 2004) and A glória e seu cortejo de horrores (Torres, 2017a), selected for points of structural convergence and divergence. While the first novel represents the fictional memories of Gustavo, a direct victim of the dictatorship - arbitrary imprisonment, torture, family breakdown and its implications as a traumatic process -, the second stages the trajectory of Mario, an indirect victim - an artist whose career is profoundly impacted by the Mario, an indirect victim - an artist whose career is profoundly impacted by the intertwining of the regime's interests and the expansion of the Brazilian cultural industry. In other words, by addressing different developments tensions of this past that doesn't go away, the works elaborate, in the present, and with the individual and fictional memory of the protagonists as a basic formative element, literary mediations that the process as a whole - whether in relation to the inflections of our recent prose fiction, or in the broader debate on the political, social and historical features that shape national contemporaneity. The field of literary studies tends to classify these novels as in the theoretical tradition of testimonial literature (Batista; Sarmento-Pantoja, 2014), whose assumptions and foundations have been consolidated over the last century (De Marco, 2004). Although this theoretical framework is relevant, we believe that its application to these works can be somewhat limited and reductive. In this sense, we propose a critical approach that revisits and tensions these assumptions, broadening the scope of the discussion through what we call fictional testimony - a concept that recognizes the way in which literature, using the mechanisms of memory, not only gives form to individual experiences and memories, but goes beyond the empirical dimension, elaborating a testimony that operates in the field of creation and aesthetic reinvention - a nature that is proper to fictional language, which is sometimes relegated to secondary levels.

The aim of this thesis is to investigate the intertwinings between fictional narrative, historiographical narrative, memoirs and literature, based on the selection of three works of Italian literature, namely: Lexico familiar (1963) and A família Manzoni (1983), both by the author Natalia Ginzburg, and Il leopardo (1958), by Giuseppe Tomasi di Lampedusa. Our reading and investigation revisits a historical past - of an Italy shattered by the Risorgimento, by Fascism and Antifascism and by the Second World War - not distant, but which is confirmed as current, through the expansion of these borders. In this sense, we propose to highlight, through a comparative study, the similarities, differences and exchange between the selected works, so that we can, in the end, conclude that there is the presence of a nebulous and intertwined terrain between fiction, history and reality, that individual, collective and family memories bear witness to resistance, ruptures and writings of oneself (close to autobiography) and writings of the other. Furthermore, we will demonstrate that, at the same time that there is the recovery of these memories and the past, we have, on the other hand, the fictionalization of these same memories. To this end, the theoretical contribution that will guide us relies on the studies of Armando Cassigoli (1976), Daniela Graf-Bartalesi (2005), Bataller (2011), Sánchez (2011), Trapani (2015) and João Fábio Bertonha (2017) among others, with regard to the introduction to Italian Fascism and Antifascism; in Octávio Paz (1982), Jacques Le Goff (1990), Leonor Arfuch (2002), Márcio Seligmann-Silva (2003), Luiz Costa Lima (2006), Jeanne Marie Gagnebin (2009), Michel de Certeau (2011), María Victoria González (2019) and Jacques Rancière (2021) among others, in relation to history, memory, literature and fiction; and in terms of memories and the past, the reflections of Pierre Nora (1984), Beatriz Sarlo (2005), Paul Ricoeur (2007), Paolo Rossi (2010), Henri Bergson (2010), Joël Candau (2016) and Maurice Halbwachs (2017), among others. The research adopts a qualitative approach, developing a bibliographic and comparative procedure based on a theoretical perspective, that is, it seeks a configuration that attempts to understand the phenomena in general and not specifically their occurrence in delimited situations. We conclude, therefore, that the expansion of the frontiers, arranged between the literary works studied, is presented in a heterogeneous way, developing a memorialistic and hybrid work with regard to the selected theoretical categories. Ginzburg and Lampedusa are two recreators of language, who, together, have constructed literary narratives that go beyond the dimensions of the historiographical and the fictional.

This work is a comparative description of the phonological systems of intonation in the varieties of Cape Verdean Portuguese (henceforth PCV) and Cape Verdean Creole (or ‘Cape Verdean Creole’: henceforth LCV) spoken on the Cape Verdean island of Santiago. The models taken as reference for the analysis of intonational phonology are the autosegmental-metrical system (BRUCE, 1977; LIBERMAN; PRINCE, 1977; GOLDSMITH, 1979; PIERREHUMBERT, 1980; PIERREHUMBERT; BECKMAN, 1988; LADD, 1996) and the ToBI labeling system (SILVERMAN et al., 1992; BECKMAN; AYERS, 1994; FROTA, 2000), while the main elicitation material used, the Discourse Completion Task (DCT: BLUM-KULKA; HOUSE; KASPER, 1989; BILLMYER; VARGHESE, 2000; FÉLIX-BRASDEFER, 2010), is an interactive method designed to elicit various sentence types with different pragmatics, allowing for their control, and was previously prepared in Portuguese and in Cape Verdean Creole to encompass 33 sentence types. Fourteen speakers (9 women and 5 men) from Cape Verde participated in the study, all originally from the island of Santiago but from different localities within the island, aged between 18 and 54 years old, 12 of them residing in Santiago and 2 in Ceará, with different levels of exposure to Portuguese outside Cape Verde (8 of them with no exposure at all), only 1 being monolingual and performing the task exclusively in Cape Verdean Creole. The results show that the PCV and LCV varieties spoken by Santiago speakers are two systems that use intonation phonologically (intonational languages), which can be defined as varieties (of Portuguese and Creole, respectively) independent from an intonational point of view, due to their internal cohesion and systematic and distinctive features. For most sentence types, both systems exhibit the same or similar nuclear contours, leading to the hypothesis of an almost complete intonational transfer.

This thesis problematizes a “poetics of enclosure” by selecting as a corpus the work of Stella do Patrocínio (1941-1992) and Maura Lopes Cançado (1929-1993), two authors who, at different - but close - times lived in asylum conditions in psychiatric institutions in Rio de Janeiro; and there they produced their writings, which we have access to today. To think about the work of these two women is, in a way, to enter an unstable and slippery terrain regarding theoretical notions and certain classifications, and writing about their writings is to be constantly confronted with the dilemma of choices. After all, should we read Stella's talk and Maura's diaries as an aesthetic composition or as testimony to a state of extreme violence? How to balance the hybrid content of a genre? The very development of a thesis in Theory of Literature already points to an aesthetic appreciation of works that can be unfolded and read from various theoretical fields such as history and sociology. When we contrast Stella do Patrocínio's biography with that of Maura Lopes Cançado, in turn, we observe that the social and racial profile marks a differentiation in treatment - as well as in the very reception of their works - between these two women who had their lives linked to hospitalizations in psychiatric institutions. Both Maura and Stella, therefore, as a result of the asylum condition in which they both produced their narratives, are sometimes seen as products or “discoveries” of a legitimizing gaze that comes from outside and reveals them to the world. In Maura's case, this legitimization process takes place through the social circle that the author herself frequented, made up of intellectual men who provided the city's literary supplement; and in the case of Stella, it is the artistic interventions from the studios that took place in Colônia Juliano Moreira at the end of the 1980s and, later, the research carried out by Viviane Mosé that began the transposition of talk into the poetic written record. Carrying out a critical reading of Stella and Maura's works is, therefore, dialoguing with the tensions of literature written by women in adverse conditions and, therefore, entering dark, violent territories of pain and human degradation.  It is, on the other hand, talking about what we tried to silence, docile and domesticate: a poetics of resistance. It is a nebulous and slippery field from an aesthetic, ethical and theoretical point of view.

This study aims to investigate the process of constructing the ethos of two financial organizations, specifically Banco do Brasil and Nubank, through the graphical interfaces of their respective smartphone applications. For this purpose, we develop a theoretical framework that integrates studies from various fields of knowledge, with particular emphasis on the reflections on ethos by Maingueneau (2002; 2014; 2016; 2020) and Amossy (2010; 2016), as well as considerations on technodiscourse and digital discourse by Paveau (2017; 2020b; 2021). We argue, initially, that the graphical interfaces of smartphone applications can be regarded as texts, drawing on discussions by Koch (2015), Marcuschi (2008), Cavalcante et al. (2019; 2022), Novais (2008), and Goyet and Collomb (2016). Based on these premises, we employ the notion of technodiscursive ethos proposed by Glück and Boaventura (2023) to formulate the macro-category of organizational technodiscursive ethos, which refers to a representation of financial organizations expressed textually in the interaction between various human and non-human interlocutors. The corpus for analysis comprises 29 screenshots of the graphical interfaces of Banco do Brasil and Nubank applications, captured on an iPhone 11 smartphone on March 17, 2024. The choice of these two banks is justified by their distinct histories regarding their presence in the financial market and their interaction with clients. While Banco do Brasil is a traditional financial institution established in the 19th century in an analog context, Nubank, on the other hand, is a digital bank that emerged in the 21st century, operating almost exclusively through digital means and serving as a benchmark for other digital banks. Preliminary analysis of the data revealed two prominent technodiscursive strategies in the construction of the organizational technodiscursive ethos: the topographical arrangement of semiotic elements on the interface screens and the use of (techno)linguistic resources to engage clients in the interaction. These mechanisms converge to establish a "friendly" and "facilitative" ethos, contrasting with pre-established cultural models that depict banks as "bureaucratic" and "tedious" organizations.

In this research, I aim to analyze, through the Transitivity System of Systemic-Functional Linguistics (SFL), how male preschool teachers represent their beliefs and construct their professional identity based on their oral reports. According to Halliday and Matthiessen (2014), I recognize that language has the function of constructing our experience of the world (internal and external), and language is conceived in its function of representation. By representation, I mean the possibility of creating “reality” through the lexical-grammatical selection made by language users. Representation, as Fuzer (2008) points out, is constituting versions of reality signified through language. In LSF, I opted for the Transitivity System, linked to the experiential subfunction of the Ideational Metafunction, as a theoretical-analytical tool for detecting and describing the beliefs present in teachers' professional identities. In addition to the notion of representation from LSF, I use the notion of Cultural Identity (Hall, 2006; 2016; Woodward, 2014; Machado, 2020) and the notion of Beliefs from Applied Linguistics (Barcelos, 2001, 2007; Assis-peterson; Cox; Santos, 2010; Vieira, 2019). The corpus consisted of seven oral reports by male preschool teachers from three municipalities in Ceará: Fortaleza, Pecém and Morada Nova. In the analysis of the data, I detected that the teachers mobilize a set of beliefs based on some representations, namely: representation of the characteristics that an Early Childhood Education teacher needs to have; of their professional identities; of their teaching experiences in Early Childhood Education; of their motivations; of the school community; of inexperience in relation to childcare; of the male gender as the holder of power; of affinity with the area in which they work; of strategies for staying in the job and of the absence of men as Early Childhood Education teachers. In addition, detecting and describing beliefs through representations allowed me to draw up an identity profile of how these teachers conceive of themselves as professionals in this segment of teaching.

In the digital chronotope, the post-dualistic and non-logocentric perspective of language highlights how humans, technology, and the environment hybridize in communication. In this circumstance, the philosophical conception of the Russian Circle becomes relevant, as it already presented a non-logocentric inclination in the context of producing its ideas. Considering this scenario, the central question that guided this research inquired about how digital behaviors present themselves for analysis in light of a moral philosophy of responsible act, thus configuring modes of interaction in contemporary times. To address this question, the research adopted a hypothetical-deductive analysis, as it perceives, from the perspective of Dialogical Discourse Analysis, the feasibility of approaching language activities in digital environments as responsible acts. Thus, by examining the philosophical and non-logocentric principles present in the Circle's conception of language in dialogue with Bakhtin's philosophical perspective, it was possible to achieve a more comprehensive understanding of the linguistic phenomenon in the digital universe. Therefore, the overall objective of this research focused on analyzing, from a non-logocentric stance on language, how digital behaviors are subject to analysis in light of a moral philosophy of responsible act, configuring modes of interaction in contemporary times. Specific objectives included: (1) Unveiling non-logocentric singularities in the philosophical conception of language present in the Circle, with emphasis on their relevance in reflecting on digital discourses; (2) Reflecting on web news disseminated on websites, implicating digital behaviors as responsible acts in light of Bakhtinian philosophy; (3) Examining how discursive interactions in the TikTok, Instagram, and X ecosystems, under the Circle's conception of language and in dialogue with Digital Discourse Analysis, are subject to analysis based on Bakhtinian ethics of responsible act. To achieve these goals, this investigation was grounded in the theoretical-methodological approach of Dialogical Discourse Analysis proposed by the Circle, especially Bakhtin (2016; 2017b) and Volóchinov (2017; 2019), in their embryonic treatment of a non-logocentric conception of language, in theoretical dialogue with Digital Discourse Analysis by Paveau (2021) and in Santaella's post-dualistic perspective (2021; 2022). The corpus analysis demonstrates a non-logocentric conception of language in the Circle, allowing for a philosophical reflection on digital behaviors through Bakhtin's philosophy of responsible act.

Este estudo se propõe a analisar a representação de um personagem comum na
literatura barroca hispano-americana, o eremita, em uma crônica religiosa do século
XVIII, a Americana Thebaida, do religioso agostinho Fr. Mathías de Escobar. Tendo
em consideração o entendimento de Valantasis (1995, p. 797) acerca do ascetismo
como uma performance “dentro de um ambiente social dominante destinada a
inaugurar uma nova subjetividade, diferentes relações sociais e um universo
simbólico alternativo”, procuramos neste trabalho estabelecer relações entre entre
os estudos culturais e a crônica colonial agostinha do século XVIII. Este estudo se
apoia nos trabalhos precursores de Rubial García (1989; 1990), que reúne em suas
obras uma grande quantidade de documentos, muitos deles inéditos, que nos
permitiu, entre outras coisas, acercar-nos ao contexto sócio-cultural de produção da
obra que ora analisamos, bem como entender a dinâmica interna da Ordem que
permitiu a sua produção. Neste sentido, os “eremitas” aos quais fazemos referência
carecem de uma realidade histórica, mas existem como símbolo de ortodoxia e
retitude.

In the works of Virginia Woolf, it is possible to find a frequent interest in questioning the historical narratives of the empire. This dissertation aims to analyze the rewriting of the past in the novel Between the Acts (1941/2022), observing how it conveys criticisms of imperial and fascist culture. The novel, set in the summer of 1939, introduces the Oliver family at Pointz Hall, the house where they host guests to watch a pageant. The plot revolves around this spectacle, created by the character Miss La Trobe, a woman described as an outsider. La Trobe represents this past in a non-conventional way, privileging ordinary life and abstaining, for example, from staging the war. The focus of the novel alternates between the actors and the audience's reactions, introducing us to the characters' nature, as some tend to appreciate tradition and are bothered by the play, while those open to new perspectives are marveled by it. This complexity leads us to divide our analysis into two parts: addressing representations of the present, the symbols that indicate the hegemony of imperial culture in the daily lives of these characters, and then exploring how this context influences La Trobe's reading of the past in her pageant. Chapter 1 proposes a mapping of Woolf's literature, arguing that Woolf, in addition to being a fiction writer, was a thinker of her own time. In this chapter, we will delve into how England is represented through fiction in Woolf's work, and the political implications of her aesthetic choices in the context of English modernism. Chapter 2 discusses the three theoretical pillars of the analysis: feminist criticism, history, and the essay genre. To define our understanding of the concepts of the feminine, woman, and femininity, we bring Toril Moi's explanation (1989) along with examples of the use of these terms in Woolf's works. Furthermore, by engaging Woolf's feminist essays with the contributions of Adrienne Rich (2010) and Hélène Cixous (1975), we discuss the idiosyncrasies of feminine authorship in Woolf's work. Additionally, we present discussions by Adkins (2023) and Bennett (2010) regarding nature as an actant in the world. The discussions about Woolf and nature stem from the essay "Anon"(1976), in which Woolf considers nature sounds present in art, a theme also addressed in the novel. Drawing from White (1994) and Said (2007), we explore the tensions and alignments of the author with historical discourse approaches. Finally, we understand that there is a Woolfian theory about history, literature, and feminine authorship conveyed in the author's essays. Thus, based on the contributions of De Obaldia (1995) and Gualtieri (2000), we propose to define our understanding of this genre and explain what Woolfian theory is and how it can be applied. Chapter 3, dedicated to the analysis of the novel Between the Acts, addresses both the artist's role as a provocateur of historical narratives and the aspects of representations of an alternative past. This chapter explores how La Trobe's pageant aligns with Woolf's ideas about rewriting the past through fiction and how this process is grounded in the pursuit of multiple perspectives that question dogmatic truths.

This research aims to analyze the process of adapting the plays A Midsummer Night's Dream (1600) and The Tempest (1611) by William Shakespeare into comic books, through a study of homonymous chapters of Sandman (1988-1996), a graphic novel by Neil Gaiman. Sandman is a highly recognized and acclaimed graphic novel, winning the World Fantasy Awards literary prize. One of its most striking characteristics is the construction through intertextuality and peculiar adaptive processes in the production of original scripts. For this reason, the adaptations of Shakespeare's plays in Sandman were analyzed following Linda Hutcheon's (2011) adaptation theory, which proposes a broader perception of the term adaptation: a process of recreating a pre-existing work in a new format, not limited to adaptations of literary works for other media. This theory allowed for a more comprehensive and in-depth approach between comics and plays. In confluence with Hutcheon's theoretical perspectives, Julie Sanders (2006) defines appropriation as a form of intertextuality and as the practice of borrowing or using elements from a previous work. This concept also served as the basis for the analysis and interpretation of characters in the Sandman comic that were created based on real people or pre-existing characters. We first discussed some definitions for the term comics, at the same time as we presented a discussion about the process of cultural legitimization that this artistic manifestation has undergone since its emergence. Next, we sought to recognize how the modes of engagement proposed by Hutcheon (2011) were used as a device by Gaiman in the composition of the Sandman chapters. Finally, we sought to understand how compositional elements of comics, such as colors, frames, fonts, balloons and captions, influenced adaptation processes. The conclusions showed that, in the adaptations in question, Neil Gaiman resorts to the use of appropriation strategies through which he reproduces some of the main themes present in the aforementioned Shakespearean plays, such as dreams and artistic creation. The appropriation resource was also used by Gaiman in Sandman in the process of creating the homonym character based on the historical figure of William Shakespeare. Furthermore, we identified that the most used mode of engagement by Gaiman was "show ↔ show", typical among performing arts, but not extensively delimited by Hutcheon (2011).

This master's thesis aims to analyze the homonymous works The White Tiger by Aravind Adiga (2008) and the homonymous adaptation (2021) by Ramin Bahrani, placing them in dialogue and establishing a common thread that involves literature and cinematographic adaptive processes. The novel raises social issues, such as caste, social position and subalternity, and criticizes them through the main character's point of view. Therefore, starting from this point, we will address the propositions present in the novel and how these aspects are represented in the film, which uses techniques specific to this medium as narrative tools. The theoretical discussions on the field of adaptation include Hutcheon (2013), Stam (2008), Ahmed (2015), Bose (2007), Peres Júnior (2012), Schulze (1995) and others. We also highlight theorists who deal with the subject of Indian English-language literature, such as Morton (2007), Mukherjee (2000), Mukherjee (1981), Valdez Moses (2001) and West & Rushdie (1997). On the subject of colonization and its implications for the subject, we consulted Spivak (2010), Bhaba (2013), Hall (1997), Lahiri (2013), Maldonado-Torres (2004), Said (2004) and others. On the caste system and Dalit literature, we turn to Ambedkar (2014), Pawar (2008).The choice of these specific works is due to the intention of contributing to literature studies and their transposition into other media. The importance of this work lies in the need to create a space for debate that highlights the dialog established between artistic, literary and filmic expressions.

século XII] e A Morte de Arthur [Thomas Malory, século XV], bem como a análise das principais personagens do romance potiguar As pelejas de Ojuara [Nei Leandro de Castro, século XX], em uma abordagem qualitativa e bibliográfica sócio literária de macroanálise e microanálise, a fim de verificarmos a atuação e os ecos dessas Damas/Bruxas nos campos literários, religioso e social, tanto franco-bretão quanto do interior nordestino brasileiro.

Desde que o uruguaio Eduardo Galeano (1940-2015) publicou, em 1971, o ensaio "Las venas abiertas de América latina" - contundente denúncia da exploração à qual tem sido submetida a região pelo colonialismo - sua obra sempre gozou de circulação ampla entre o público na América Latina (e fora dela). No entanto, mesmo  consolidado entre os mais populares de sua geração, sempre pairou sobre sua produção uma espécie de silêncio da crítica: devido, provavelmente, ao seu estilo simples e despojado e seu evidente desprezo pelas formas prototípicas. Isso gera uma certa inquietação, uma vez que enquanto seu estilo prima por uma linguagem e formas simples e acessíveis, uma leitura atenta pode trazer à tona diferentes nuances de autorreferencialidade que apontam para uma problematização do próprio conceito de literatura. Assim, o presente trabalho tem por objetivo investigar o fenômeno metaliterário na obra de Eduardo Galeano, partindo da hipótese de que esse autor constrói, evidencia e referencia, no interior de sua obra, um projeto poético lúcido e sistemático. Como corpus principal dessa pesquisa, selecionamos as obras "Días y noches de amor y de guerra" (1980 [1978]), "El libro de los abrazos" (2015 [1989]) e "Las palabras andantes" (1995 [1993]), de Galeano, que configuram para nós um recorte temporal onde Galeano testa, experimenta e consolida suas estratégias literárias. Em paralelo, analisamos três artigos e ensaios da mesma época (1978-1980), nos quais Galeano sistematiza esse fenômeno visível nas obras. Outras produções de Galeano foram consideradas, com menor ênfase, na medida em que o desenrolar da pesquisa exigiu. Além dos textos do próprio Galeano, as discussões e análises estão fundamentadas a partir de teóricos como Arfuch (2010), Aguirre (2022), Benjamin (2012), Erll (2012), Faedrich (2021), Klinger (2006), Montali (2018).Palaversich (1995), Seligmann-Silva (2003; 2022), entre outros. As discussões propostas pelos autores citados ajudam a esclarecer determinadas linhas dentro da poética de Galeano, a exemplo do trabalho com a memória, o estabelecimento de um movimento autoficcional e o recurso à linguagem e a à literatura como estratégias de descolonização.

No processo da produção oral o falante mobiliza ao mesmo tempo conhecimentos de diversas ordens: fonéticos, fonológicos, lexicais, gramáticos e sociais, a fim de construir expressões em tempo real. Segundo Tanguy (2018), o oral se destaca por sua aparência dita desorganizada, por causa das repetições, fragmentos, desistências, etc, mas pouco se fala das suas reorganizações. O estudante de uma língua estrangeira mobiliza mecanismos dinâmicos viabilizados pelo sistema oral da língua falada, visando um bom desempenho da atividade oral na sala de aula e fora dela. Um desses mecanismos é a estratégia de reorganização sintática em tempo real. Entendemos que observá-la pode contribuir para a tomada de consciência dos estudantes acerca das estruturas do francês que ainda estão fora de seu domínio e que podem receber maior atenção no seu processo de aprendizagem. Neste trabalho, respaldados pelos estudos de Tanguy (2018), Richard (2018), Scroveck (2018) e outros, observamos o uso desta estratégia por parte de professores de francês em formação inicial do curso de Letras (francês) da UFPE. Buscamos compreender se a reorganização sintática em tempo real pode ser considerada uma estratégia consciente e útil para o desenvolvimento da produção oral dos estudantes de Francês como Língua Estrangeira. Além disso, perguntamo-nos se ela pode servir como um elemento de auto-avaliação metacognitiva da aprendizagem. Para atingir nossos objetivos, propusemos encontros de conversação com o público alvo, onde motivamos e mediamos a fala espontânea, explorando diversas temáticas. Além da análise de transcrições, provenientes das gravações dos encontros, propusemos também uma entrevista semi-diretiva para observarmos o nível de consciência dos estudantes acerca do uso da estratégia aqui estudada.

O estudo disserta sobre a aplicação da tese Lima Barreto e o Espaço
Romanesco (1976), de Osman Lins, no romance do próprio autor: A Rainha
dos cárceres da Grécia (1976). Para isso, através de uma pesquisa de
natureza bibliográfica, fizemos, primeiramente, um levantamento das
referências teóricas e literárias usufruídas pelo autor pernambucano na
elaboração de sua teoria da espacialidade ficcional. Em seguida, recorremos a
um referencial teórico mais recente acerca da categoria do espaço a fim de
aferir o trânsito, a evolução do objeto e a importância dele para a nossa
pesquisa. O nosso objetivo é corroborar a fortuna crítica sobre o espaço
romanesco, mais precisamente a tese de Lins que se debruça em narrativas de
Lima Barreto como Vida e Morte de M. J. Gonzaga de Sá (1997). A tese da
espacialidade osmaniana se sobressai em estudos similares por revelar o
espaço a partir do prisma da ambientação e suas devidas categorias: franca,
reflexa e oblíqua. A investigação da tese osmaniana e a sua aplicação no
último romance escrito por Lins ressaltam o nosso interesse em averiguar qual
a abrangência do pensamento teórico desenvolvido pelo escritor
pernambucano durante a sua plena maturação artística.

In this study, we seek to analyze how the professional genre has been configured in teaching activities with the teaching of textual genres in Portuguese language classes in high school. The professional gender, practices and ways of acting constitute a structure that provides a common basis for understanding and action among workers, while allowing adaptation and innovation within professional practice (Clot, 2010). Specifically: a) Verify the extent to which the prescriptions influence the construction of the professional genre of teaching activity with regard to the teaching of genres; b) Characterize this professional genre with regard to planning and teaching tools; and c) Understand, based on teachers' verbalizations, some aspects underlying this professional genre. The research field for the data being collected is a school in the Pernambuco State Network, a comprehensive high school, located in Agreste Meridional, in the municipality of Correntes. In this research we will follow the perspective of qualitative analysis, as it captures “the ‘participants’ perspective’, that is, the way in which informants view the issues that are being focused on” (Lüdke; André, 2012). The study developed included the following instruments and methodological procedures: Carrying out a semi-structured interview with each teacher, observing the lesson plan, observing and recording in audio and video a teaching sequence with a genre and carrying out Simple Self-Confrontation sessions. The corpus is composed of the observation of two teaching sequences taught by two Portuguese language teachers and the texts of the Simple Self-Confrontation sessions (Clot, 2007), originating from teachers' verbalizations about the classes observed in this study. The research results demonstrate that curricular prescriptions significantly influence the construction of the professional genre of teaching activity in teaching textual genres. The analysis of the verbalizations of the participating teachers, obtained through semi-structured interviews and Simple Self-Confrontation (ACS) sessions, reveals that, although these guidelines guide planning and pedagogical practices, they can also limit the teachers' autonomy. Teacher D1, for example, seeks to comply with these guidelines while adapting her strategies to enrich learning, highlighting the importance of continued training and critical reflection. Teacher D2, in turn, implements the guidelines in order to make teaching more contextualized and relevant. Both teachers use similar tools, such as data shows, blackboards, and printed activities, to structure their teaching sequences and access the students' prior knowledge, ending with the delimitation of the final production of the genre. The resignifications attributed to the needs of teaching, learning and organization of work with textual genres show how teachers adjust their practices to better meet pedagogical objectives and curricular demands, connecting school learning with real contexts of language use. In short, the configuration of the professional genre in the activity of high school teachers, with regard to teaching textual genres, is a dynamic, adaptive and reflective process, shaped by the demands of curricular prescriptions and the emerging specificities of pedagogical practices.

This dissertation aims to reflect on the role and relevance of the elements of memory and history in the elaboration of the social pictures of the past produced by contemporary historical fiction. To this end, we used a comparative analysis of the still incomplete trilogy O lugar mais sombrio (2017), written by the Amazonian author Milton Hatoum, and Soledad no Recife (2009), a novel written by the Pernambuco author Urariano Mota. Both narratives present literary representations of the historical period of Brazil's civil-military dictatorship, which lasted from 1964 to 1985. In Hatoum's trilogy, in the two novels already published, A noite da espera (2017) and Pontos de Fuga (2019), we follow the narrator-character Martim, a young man exiled in Paris who decides to gather memories and traces of his adolescence in Brasília and the beginning of his adult life in São Paulo, tracing a panorama of his coming of age amid emotional and political conflicts, during a significant part of the dictatorial period. In Mota's novel, the real and documented trajectory of the militant Soledad Barret, in Recife, is presented from a fictional point of view by Urariano, through an unnamed protagonist-narrator. Firstly, we look at the intertwining of fiction, history and memory, their encounters and disagreements, as well as the development and evolution of his main product: the historical novel. In the second part of this research, we reflect on the dictatorship as a material for historical fiction, as well as its relevance, significance and capacity to provoke discussions, productions and recurring revisits in contemporary Brazil. In the final third of our research, we analyzed the aforementioned works in a comparative way, aiming to discuss the process of (re)elaboration and presentation of the past in question based on their narrative structures, writing strategies and elements of reconstruction. These analyses led us to the perception of literature as a product in constant transformation and a space capable of challenging the untranslatability of the traumatic past, even if it can never be completely unveiled.

The present work seeks to analyze how the construction of ethos influences public perception and in the attempt to deconstruct ableism. To this end, speeches by people with disabilities (PwDs) extracted from the TED/TEDX channel of the online platform Youtube will be used. It is known that these people, in their speeches, have as their main objective to deconstruct the abject image that PwD has in society. Thus, we set out to study how the construction of the self in discourse sustains this struggle in discourse against abjection. To this end, we consider discourse as an ideological tool for the deconstruction of power, as proposed by Fairclough (2001), and also the unfolding of the Queer/Crip Theory, based on McRuer (2021) as a strategy for using the negative discourse of the executioner as a form of social confrontation. As part of the foundation, we rely on Amossy (2015) and Mangueneau's (2014) notions about the construction of ethos. According to the authors, the discursive ethos is not a strategy that can be easily applied by means of pre-existing rules, it is constructed in the course of the discourse through implicit statements in the guarantor's enunciation. For this reason, it is necessary to use the theory of Critical Discourse Analysis (CDA) as a background that will support the social implications subtly developed in the discourses. To this end, we will analyze the discourses produced, looking for signs of self-representations in them, based on semantics, in order to understand how the ethos is constituted in them, so that the stereotype that PwD is incapable can be deconstructed.

This master's research, in the field of Applied Linguistics, has as its object of study the didactic treatment of specific Competency 07 of the area of Languages and its technologies in the work “+ Action in School and Community: integrative projects”. In the single volume format, the work published by FTD was included as Object 1 of the PNLD 2021 and adopted in the three public high schools from Aliança (PE). As the result, we seek to analyze, in the theoretical-methodological field of Applied Linguistics, the configuration of two integrative Projects of this book and how they relate to specific Competency 07 of the area of Languages and its Technologies, of the BNCC (National Common Curricular Base) and its 04 skills. The choice of only this specific competence for analysis is justified, since this specific competence concerns language practices in a digital environment. As technological advances in communication and information are becoming more and more common, the presence of reading practices in digital environments is present throughout everyday social life, as well as in the school context. In addition, in the study, we seek to investigate whether the proposals for developing projects provide an alternative to the weaknesses of schools in relation to digital devices. With the implementation of the BNCC (2018) and the High School Reform (Law No. 13,415/2017), we have a new model in this phase of Basic Education, a change that also affects the development of schoolbooks. Now we have books organized by areas of knowledge determined in the PNLD (2021), which prescribes that didactic works by areas (Object 1) present integrative projects, with their relationship with language practices in a digital environment being the focus of the object of analysis of this dissertation. Our study is part of theoretical discussions about schoolbooks and Portuguese language schoolbooks with the studies of Batista (2001, 2003), Jurado (2003), Bunzen (2001, 2005, 2009), Bunzen and Rojo (2008), Rojo and Batista (2008) Cassiano (2007) Rangel (2020). This investigation involves describing the activities and actions that the Teacher's Manual explicitly indicates for Competence 07 and its respective skills, as well as improving the discussion about its potentialities and weaknesses. From the analysis, it is possible to verify that skill (EM13LGG702) is the one that can be developed the most in the activities of both projects, while the other 3 skills are also developed, however, conditioned on the presence of a digital device in the activity.

In the social formation we are part of, the digital space materially determines the constitution, formulation, and circulation of discourses (DIAS, 2018), which implies the imbrication between technological and ideological aspects (GRIGOLETTO, 2021) in the most diverse movements of subjects on digital and meaningful networks. Within this context, emergent and heterogeneous discursive practices, often labeled as cultures, such as the happen with cancel culture. With the theoretical and methodological support of Materialist Discourse Analysis (PÊCHEUX, 2010; 2014; 2015; 2016, ORLANDI, 2012; 2016; 2017; 2020 among others), this research aimed to contribute to the understanding of cancel culture as a set of symbolic practices characteristic of contemporary discourse, through analytical gestures that exposes the  supporting discursive materiality on these practices, in current production conditions. To achieve this, I proposed analyses: i) of the meanings of/about cancel culture in online dictionaries; and, ii) of the discursive representations of/about the cancellation of Brazilian public figures in media discourses (DELA-SILVA, 2021). In the analyses, the interplay between discourses of/about (MARIANNI, 1996) cancel culture points to: i) a symbolic thickness determined by its constitutive externality; ii) the entanglement effect of subjects and meanings determined by digital materiality and production conditions; iii) the heterogeneity that (dis)organizes the functioning of discursive cancel practice, as its causes are varied and its effects manifold. As a consequence of discursive listening (MARIANI, 2023), I understand the cancel culture practice as a symptom that indicates refinement of contemporary forms of exploitation enacted by digital media, such that the upheaval produced by cancel culture spills over from device screens and affects individuals in their social bonds.

The object of this master's research is to study the pedagogization of the meme genre in textbooks in the Languages’s field and their Technologies approved in the PNLD -2021 (Programa Nacional do Livro e do Material Didático). As an objective, we sought to analyse, in the theoretical-methodological field of Applied Linguistics, in accordance with the theoretical apparatus that guides this work and with the prescriptions of the Base Nacional Comum Curricular (BNCC), the ways in which the meme genre has been pedagogized, whether as an activity proposal, in which its semiotic aspects are highlighted as an object of analysis, or as a form of interaction in digital culture. We aimed to observe which literacy pedagogy (in the sense of Cope, Kalantzis and Pinheiro, 2023) predominates in didactic activities and which metalanguage is used (or not) to explore semiosis. With the publication of the BNCC (2018) and the High School Reform (Law No. 13,415/2017), the teaching and learning practice of this modality is now based on the development of skills and competences. Among the Specific Competences, Competence 01 and 07 are of interest to this work, as they prescribe the study of the text from the perspective of multimodality, as well as Competence 02, which aims to work on the socio-ideological aspects of the text.This work used as theoretical support the reflections of Street (1984); Cope, Kalantzis & Pinheiro (2023); Gee (1996) and Rojo (2019) in relation to literacy studies; as well as Bunzen's (2011) studies on literacy practices in textbooks. Through careful selection, five textbooks in the Languages’field and their Technologies (Object 1 of the PNLD-2021) were selected as the corpus of this work, namely:: “+ ação na escola e na comunidade”, ‘Ações em linguagens’, ‘Da escola para o mundo’, ‘Moderna em projetos’ and ‘Práticas na escola’. All of these books in Object 1 of the PNLD are presented as interdisciplinary and feature six integrating projects. Based on Critical Discourse Analysis and The Grammar of Visual Design, we carried out a document analysis of the Teacher's Manual and Student's Book of all the books selected as the corpus of this work. The analysis showed that despite the textbooks highlight the semiotic modes and socio-ideological aspects prescribed by the BNCC in Specific Competencies 02 and 07 in the Teacher's Manual. However, there is a significant discrepancy between the prescriptions of the  maindocument and the proposed activities with the meme genre in terms of the modes of signification. It was also noted that the linguistic and verbal mode is still the only mode of signification that is emphasized in the books' literacy pedagogies. As for its schooling, we can see that the functional approach predominates over the activity proposals, and its socio-interactional purposes in communication between users of the cybersphere are highlighted.

The work at hand, anchored in the theoretical-methodological principles of Text Linguistics (hereinafter TL), aims to analyze how the referential processes, categorized by Cavalcante (2012), namely: Referential Introduction, Anaphora, and Deixis, are prompted by multimodality in humorous audiovisual productions publicized on Instagram. To this end, we adopt referentiation as a dynamic and intersubjective process (Mondada; Dubois, 2003) in which the referents, objects of discourse (Koch; Marcuschi, 1998), are (co)constructed by the participants in the communication as they seek to imprint their views on reality. We add to this analysis the theory of technodiscursivity (Paveau, 2020, 2021), which imparts an ecological view of native digital discourse, considering that the language-machine relationship is inseparable, given the hybridization of language with the technical devices demanded by the digital. Not only this, we also link our investigation with the theory of multimodality, mainly adopting the multidisciplinary perspective of Social Semiotics (Santos; Pimenta, 2014) and its dialogues with Text Linguistics (Ranieri, 2022; Santos and Cortez, 2022; Custódio Filho, 2011). This triad will be used as a theoretical basis to demonstrate how the multimodal potential of networks presents a new interface of referentiation, which performs its recategorization processes of discourse objects not only through the verbal but mainly through other semioses, here highlighted as sound and gesture. To achieve this, we take as corpus the analysis of 20 random posts produced between 2023 and 2024 on the social network Instagram. The research in question adopts a qualitative.

The Diagnostic and Statistical Manual of Mental Disorders (DSM) is an instrument used by the field of mental health, especially psychiatry, to diagnose possible mental disorders and syndromes. Currently in its fifth version, it has more than 300 possible diagnoses, covering all areas of human life. The International Health Organization (IHO) produced a study pointing out that around 1 billion people have a diagnosis of mental disorder based on the Manual's criteria, which demonstrates its influence on the way we think about and conceive the notion of mental health (Ministério da Saúde, 2020). This influence is even more evident when we look at the high number of drugs indicated for the treatment of mental disorders in the DSM. According to data from the Federal Pharmacy Council, between 2017 and 2021 alone there was a 58% increase in the sale of this product (Rocha, 2023). Produced by the American Psychological Association - APA, the Manual is called neutral, unaffected by any ideological or political condition of its time, guided only by the biological sciences. However, despite its self-styled neutrality, over the course of its history, the APA has produced five editions of the manual to date, changing not only the number of diagnostic categories, but also the way it reads and deals with symptoms. This reading, although supposedly neutral, produces, on a large scale, values about mental suffering that are reproduced not only by professionals, but by society as a whole. The discourse produced by the APA, materialized in the DSM, therefore becomes central to our understanding of the medical ideas, especially psychiatric ones, in force at the time of publication. In this paper, based on an understanding of the DSM as a discourse on science, diagnosis and mental disorders, we aim to analyze the DSM and the way in which the notions of science, diagnosis and mental disorders are defined and related to it. From this perspective, the DSM materializes, through its ideology, non-transparent meanings in the way psychic suffering is described. To this end, we used the theory of Pecheutian Discourse Analysis to think of the text of the DSM-5-TR as a discourse. The aim of this dissertation is to analyze the DSM and how the notions of science, diagnosis and mental disorders are defined and related. From this analysis, we aim to understand the effects of meanings associated, for example, with conceptions of health and how this impacts on the use of medicines produced exclusively for the treatment of disorders found in the DSM-5.

This work aims to analyze how the articulation of referents in referential networks contributes to the argumentativeness of the oral vote genre. To this end, we chose an oral vote in the political sphere, specifically the oral vote on the impeachment of former president Dilma Vana Rousseff in 2016, because we believe that referential processes, such as referential introductions and recategorizing retakes that constitute this text, are elements that contribute to the construction of its argumentativeness. In order to fulfill this objective, we used the theoretical and methodological assumptions of Textual Linguistics (TL), from an interdisciplinary perspective with the approach of Argumentation in Discourse (Amossy, 2018), which, according to Cavalcante et alii (2020), makes it possible to consider the categories of textuality, such as referencing, in order to analyze the argumentative nature of texts. According to Koch and Marcuschi (1998), the phenomenon of referencing is one of the major categories of TL, since it makes it possible to broaden the concept of the production/understanding of meaning, as well as making it possible to observe the socio-cognitive nature of textual processes. In this sense, we used the studies of Matos (2018) to support the notion of referential networks used here to analyze the communicative event in question. We also used the multimodality approach (Mondada, 2005; Ranieri, 20015) linked to referencing studies (Bentes, Ramos and Alves Filho, 2010; Custódio Filho, 2011), since we assume that the text is constructed by mixing the verbal and the non-verbal (Dionísio, 2007; Lima, 2009, 2015 and 2017; Mondada and Dubois, 2003; Silva, 2021), considering the intrinsic relationship between cognitive, social and political aspects and the multiple semioses that support the production of meanings. Based on this understanding, the discussions in this work are also developed in the light of theoretical approaches that study and define textual genres, with emphasis on the genre of oral voting in the political sphere, which is the subject of this study (Marcuschi, 2001, 2008, and 2012; Travaglia, 2009, 2017 and 2021, Santos, 2020). We also highlight the studies of orality in the typological continuum of communicative activities (Marcuschi, 2008), since the genre under study belongs to the oral language modality. In this research, we dedicated ourselves to the qualitative treatment of the corpus, which is made up of the transcription of the 504 votes cast by federal deputies. To generate the corpus, we invested in the transcript of the oral vote on impeachment, which was broadcast by TV Câmara dos Deputados on its YouTube channel. Thus, we intend to interpret how the referential networks established during the vote corroborate the argumentative nature of the vote and highlight the maintenance and/or progression of referents within this network of interactions.

This study analyzes the digital mobilization of caricaturists in support of the artist Nando Motta, about the process opened by the owner of Havan stores, Luciano Hang, in December 2021. The reason for the complaint was the publication by the artist of a cartoon in which the entrepreneur was portrayed as a kind of monster, due to his actions in front of the health treatment and the death of his mother, Regina Hang, from COVID-19. In defense, the caricistas decided to reproduce the censored cartoon by re-signifying it. In defense, the cartoonists decided to reproduce the censored cartoon by adding modifications.  Previously, a similar movement had already occurred, with the denunciation of Renato Aroeira by former Minister of Justice André Mendonça due to the publication of the charge of this artist Crime Continuado in June 2020. This work gave rise to the name Charge Continuee, which came to designate, in the following year, the statements of protest against censorship produced by the caricistas solidarios to Nando Motta. The guiding question of the research investigates how the continuous charge of the virtual movement #somostodosnando, by constituting a replica that agrees with the censored simultaneously the responsibility of its authors for the negative representation of the entrepreneur Luciano Hang. In these terms, we aim to examine the responsiveness and responsibility in the production of digital continuous drawings of the #somostodosnando movement, seeking to understand how both, under the specific meaning of the author, reinforce Hang’s qualification as a monster. Therefore, we propose as specific objectives: i) to point out the resignification of the continuous charge in relation to the relative generic stability of the charge; ii) to explain the enunciative project constituting the continuous charge; iii) verify that the continuing charge of techno-linguistic movements has signaled the resistance of producers to the silencing of their art and, at the same time, the strengthening of the work of the cartoonists. The research is based on the dialogic theory of language - specifically in the studies of Bakhtin (1997; 2002; 2010; 2020), Volochinov (2014; 2021) and Medviédev (2012) -  and in Paveau’s Digital Discourse Analysis (2021). We adopted the qualitative research methodology, as for the descriptive purpose and, as for the data collection procedures, bibliographic and documentary (Gil, 2008). The corpus consists of 6 continued cartoons published in the interval from 20 to 29 December 2021, on the Instagram page @somostodosnando. The corpus analysis showed that responsiveness was seen in the maintenance of characters from the universe of terror and in the evaluation of Luciano Hang as a monster. The responsibility occurred for the reelaboration of this negative sense about Hang, impacting on the inclusion, in the verbal plane, of the topic of censorship addressed to Nando Motta and, in the visual plan, in the selection and in the distinct representation of the characters of the terror to which Hang stood out in the silent charge. 

This thesis focuses on the agency of female characters in two novels: So Far from God (1993), by Ana Castillo and Com armas sonolentas, by Carola Saavedra (2018). The definition of agency used here is the one of the anthropologist Laura M. Ahearn (2001), who characterizes it as the capacity of socioculturally mediated action. Thus, my objective is to analyze the agential processes, that is, the characters decision-making and actions that are permeated by the sociocultural context of each one of them. So, this thesis is divided in a way that one chapter is dedicated to each character, as each one mobilizes their action in different situations, which provided the exploration of sub-themes such as motherhood, wandering, the transits, violence, identity, spirituality, community, ancestry, cultural heritage, capitalist exploitation, social history, racism, patriarchy, among others, all analyzed from a feminist and decolonial perspective. Thus, I conclude that the two works represent women who, regardless of the bias of their actions — be they attitudes of resistance, existence or co-opted by neoliberalism and patriarchy — analyze the context, decide and, especially, act. As pointed out in the title of this thesis, quoting Ana Castillo, the women analyzed here are the kind of species that flies.

Embedded on a transgressive perspective of language education, this research is founded on the principles of Applied Linguistics (Kleiman, 1998; Moita Lopes, 2006, 2013; Rajagopalan, 2005; Pennycook & Makoni, 2020) and critical interculturality (Kramsch, 1998, Mignolo, 2011; Mignolo & Walsh, 2018 Candau,2012;Hua, 2014; Dervin, 2016) as a political-pedagogical project to analyse how questions and argumentation from an enunciative-dialogical perspective impact the development of  intercultural savoirs and practices in  dialogues  between international English-speaking students from two different courses at a university in British Columbia, in Vancouver, Canada; namely, Methodologically, we will follow the precepts of qualitative research, as the goal is to understand reality from the shared meanings throughout the classes (Liberali & Liberali, 2011). The research will be interpretative and deductive in nature. We examine interactions over two weeks of class and analyse two semi-structured interviews with the teachers of the focal classes from a critical paradigm, seeking to understand the role of questions in the construction of intercultural savoirs and practices in English language teaching aiming at a language education committed to a decolonial praxis, of belonging, care, and above all, freedom. The analysis categories were created based on Bakhtinian concepts. Results indicate that depending on how questions are organized, they can contribute not only to new possibilities of intercultural dialogues with more empathy and care.

This research discusses how irony as a discursive strategy (Hutcheon, 2000; Brait, 2008) relates to events of (im)politeness (Marques; Barros; Costa, 2015). It conceives both phenomena in their interactional dimension, both through the inferential character of ironic meaning and the evaluative character of (im)politeness (Eelen, 2001; Culpeper, 2011b). Thus, the role of irony in (im)politeness is investigated through televised electoral debates held during the presidential dispute of the 2018 Brazilian elections. The electoral debate genre was chosen due to its close relationship with irony (Aristóteles, 2007) and with (im)politeness, particularly when it comes to face work (Tracy, 2017). Furthermore, it is important to investigate these phenomena in the electoral debate due to the paradigmatic nature of this discursive practice for other forms of political behavior, recently marked by increasingly offensive speeches (Wodak; Culpeper; Semino, 2021). It starts from a conception of irony as a discursive strategy, which as such is located in the dimension of interaction, being particularly characterized by its critical nature (Hutcheon, 2000). On the other hand, the work considers that the ironic phenomenon has functions other than offense, such as humor, but also emotional control and status elevation (Dews; Kaplan; Winner, 2007). Furthermore, these functions can coexist and overlap, as irony, structured in circumlocution, presents itself in an ambiguous way, a phenomenon that has conventionally been called tinting (Colston, 2007). Considering criticism as the main function of irony, it is assumed that this discursive resource tends to impolite events; However, the first mentions of irony in the field approached it as a politeness strategy, as it allows the creation of bonds of identification, as in Brown and Levinson (1987), or as a way of carrying out criticism in an indirect way, which would be considered less offensive than a direct criticism, as in Leech (1983). This occurs due to a focus in these initial studies on politeness, conceiving impoliteness only in terms of opposition. At the beginning of the 21st century, new works (Eelen 2001; Watts, 2003; Culpeper, 2011b), based on the perspective that speakers construct about the events in which they are involved, defend the use of the term (im)politeness, connecting the two phenomena and effectively conceiving its effects in the interaction dimension. This is the stance defended in this work, which we operationalize here through the notion of rapport
management (Spencer-Oatey, 2005). Thus, concepts such as evaluation, judgment and relationship become central, allowing the exploration of (im)politeness as face work (Goffman, 2011), relating the phenomenon with irony in these terms (Tselika, 2015). Therefore, the research aims to clarify the ways in which irony acts in electoral debates as a strategy of (im)politeness, particularly in its character of face work. It also outlines which aspects of ironic enunciation mitigate the offensive potential of its critical nature or, on the other hand, which circumstances of the use of irony could intensify the offense. In this way, the research is characterized as interpretative in nature, elucidating the processes involved in the construction of meanings, ironic or (im)polite, and investigating the discursive effects generated by the use of these resources, particularly those aspects that impact the face, given the centrality this category for the discursive practice of electoral debate. Thus, initially, the interactional organization of the electoral debate was analyzed, identifying its structural aspects and their relevance for interaction. Next, it was observed how rapport management occurred (whether for challenge, neglect, maintenance or improvement) in interactional exchanges between candidates. Finally, occurrences of irony were recorded, detailing their functions and analyzing their relationships with rapport management. These procedures made it possible to relate aspects of the organization of the electoral debate genre to rapport management, in addition to verifying the relevance of irony in the most conflictual interactions. Thus, the results indicate that irony was used more frequently in potentially conflicting interactions, given its high frequency in the interactional sequence of direct confrontation and in interactional exchanges oriented towards the challenge of rapport. In this way, it can be considered to be a preferred strategy for this type of situation, corroborating this finding with the prevalence, in interactions using irony, of rapport management towards defiance or negligence. It was also noted that the use of irony was also relevant for face work, as, even though they were a minority, some occurrences of irony appeared in more harmonious contexts, which highlighted the other functions of irony, such as humor and elevation of status. In this way, irony acted, in the 2018 electoral debates, not only as a resource of criticism, catalyzing occurrences of impoliteness, but also performed relevant functions for face work, in conflictual and balanced situations, demonstrating its relevance for managing the rapport in different directions.

The critique as an exercise is a critical and creative procedure that arises from contact with the poetic of the artist Nuno Ramos (São Paulo/SP, 1960), particularly when reflecting on the use of Brazilian songs in visual artworks, films, videos, and literary texts, which the artist takes as material to compose these works. Side by side, materials such as rosin, vaseline, and glass are intersected by songs, voices, lyrics, and artists from Brazilian popular music. The song-material is this poetic body formed from other poetics, such as those of Nelson Cavaquinho, Paulinho da Viola, Romulo Froes, Mariana Aydar and Clima, in other words, music artists with whom Nuno Ramos engages, either critically, retracing the trajectory of these works, or creating compositions that will be released on albums by other artists, but which, in some way, are also imbued with these poetics. For this thesis, namely, for critique as an exercise, this movement of creation and critique, based on the notion of song-material, knows no borders; therefore, the exercise involves comparing different works and languages, as well as different artists and critical and creative paths, to make this exercise a possibility for reflecting on artworks and poetics that do not allow themselves to be fixed in a single category.

The doctoral proposal of this thesis is to present two epistemological categories: 1) the category of the Literatures of black authorship, and 2) the category of the Poetics of non-being. The autobiographical narratives Our Nig: sketches from the life of a free Black (1859), by Harriet Wilson, and Incidents in the Life of a Slave Girl: written by herself (1861), by Harriet Wilson, were the means used for the development and theoretical-semantic foundation of our research. In this context, our approach exposes bioracism and ante-humanity as analytical categories and means of constructing the physical and psychological violence suffered by black men and black women bodies. However, it is necessary to explain that the black female poets chosen as object of study of this thesis innovated in their black literary artifacts by specifically denouncing the violence exercised upon black female bodies. For this purpose, three aspects are considered: the appropriation and abrogation of the colonizing European language to create a black literary aesthetic that we call Literatures of black authorship that is alien to the Eurocentric molds; the use of the African Oral Tradition and African Memorialistic Time in the writing of these Literatures; and finally, the Poetics of non-being, which, by writing back to the empire, deny the bioracist discourses in the narratives of violated black bodies, such as: their ante-humanized character, the zone of anteriority to the white bodies occupied by them, the inability to generate knowledge and create beauty, and mainly, that these black bodies do not possess any human character. Hereupon, the social condition of black bodies, of being considered equal to machines, and therefore, deprived of any intellectual capacity to produce beautiful things like literature, has placed them in a subordinate social place in the Americas as a whole. Therefore, bioracism and ante-humanity were conceived as tools for subaltenizing these black bodies in relation to the social position occupied by white people. Thus, the notion of humanity is restricted to the white colonizing and European body. In view of this, our objectives are the following: to identify how the place of black female bodies representation of Harriet Wilson and Harriet Jacobs is established and how this is reflected in their autobiographical characters creation in their Literatures of black authorship; to examine how Harriet Wilson and Harriet Jacobs autobiographies denounce the ante-human violence suffered by black female bodies in the United States of the 19th century; to verify how black female poets deconstruct bioracism and the ante-humanity attributed to the black female body in their narratives; and to demonstrate how the characters experience and resist the conditions of bioracism and ante-humanity. The following theoretical bases were used to develop the research problem: Achille Mbembe, Bill Ashcroft et al, Dionne Brand, Édouard Glissant, Elio Ferreira de Souza, Frantz Fanon, Hampaté Bá, Homi Bhabha, Stuart Hall, among others. Here is our thesis: the Poetics of Non-Being creates the necessary conditions for black male poets and black female poets to create their Literatures of black authorship in the Americas.

The teaching of English has become a recurrent theme in linguistic studies, particularly when discussing the formation of social, political, technological, and globalized individuals capable of interacting with their reality through reading, understanding, speaking, and writing the language. This civic education transcends the issues of teaching and learning foreign languages and, more specifically in the case of English, these issues become even more relevant since it is the foreign language adopted as a priority by the guiding documents of the curricula for Basic Education throughout Brazil. In this context, the theme of this thesis arose from the researcher's concerns about the initial training of English teachers, looking more closely at the teaching of written production in this formative process. This study, therefore, sought to verify the place of teaching written production in English in the initial training of teachers of this language, considering the conceptions of language teaching and how the methodology of teaching this production is presented in the curriculum of the English Language and Literature course at UFPE, as well as the way in which writing activities are brought in the teaching proposals of future teachers. For the analysis and discussion of the data, we used as a basis the interactional conception of language, brought by the Bakhtin Circle (2006, 2010, 2018), which proposes a discursive and dialogical view of language. The discussions proposed by Sociodiscursive Interactionism, which defends a more significant relationship between language, development, and sociocultural contexts, also contribute to this interactionist approach to language teaching studies. The qualitative method of data analysis, description, and interpretation was adopted, using documentary research, specifically the questionnaire and the semi-structured interview for data collection and composition of the corpus. In this set of ideas, we understand that the theoretical-methodological training of the undergraduate student should guide and provide subsidies for their classroom practices, mainly in the work with the production of written texts. The results show that the curriculum analyzed presents a considerable space for the teaching of written production in English, however, the path traced until the elaboration and implementation of the future teachers' didactic proposals presents gaps that reverberate in the proposal of significant and socio-discursive writing activities. 

This present work analyzes the Afro-Latin literary works Torto arado (Crooked Plow, VIEIRA JUNIOR, 2019) and Changó, el gran putas (Changó, the Biggest Badass, ZAPATA, 2023), in an effort to identify representations of belonging. In Belonging: A Culture of Place, bell hooks (2022) discusses the notion of belonging, affirming that it exercises an essential role in the construction of identity for it allows the connection of community, land, and cultural elements, all of which are not only foundational factors in defining the place of being, existing, and resisting but are also tied to the peoples of the Black diaspora (HALL, 2009; GILROY, 2011) in the Americas. In this context, the productions of knowledges and practices of resistance understood as decolonial (MIGNOLO, 2005; BERNARDINO COSTA & GROSFOGUEL, 2016), as can be observed in the works under investigation, are tied to the struggle for belonging in the Black diasporic continental dimension of the land called America, reverberating still today in local fights for land rights, whether by way of this confrontation or by way of a recognition of material and symbolic territories (PORTO-GONÇALVES, 2010; HAESBAERT, 2021). As such, this dissertation is guided by a comparative reading of these works in light of the Poetics of Relation (GLISSANT, 2011), which contributes to thinking of the ways in which these narratives construct representations of struggles for belonging in manifold and relational ways, challenging the different ways in which the right to belong is denied. In this way, land and territory emerge as central themes in the narratives, as their relationship with space transcends materiality and profoundly connects to identity and ancestrality. Moreover, this connection is manifested not only in religious and spiritual elements that symbolize strength, power, and resistance. They also manifest in memories recognized individually and collectively, which are intertwined with orality and transatlantic pneumonic signs, creating a relationship that connects the characters to a mystical and historical sphere, promoting a sense of struggle, resilience, and continuity from one generation to the next. As such, the notion of belonging, observed in the two works, is intimately correlated to the knowledges emerging from the distributions of the sensible (RANCIÈRE, 2005), allowing for a critical reflection regarding "the common sense" that has been forged under the weight of coloniality (QUIJANO, 2000). This interrogative process clears a path for new forms of imagining the world while also enabling the reconstruction and resignification of imaginaries of belonging for the peoples of the Black diaspora of the Americas, challenging the structures of power that continue to perpetuate colonial logics.

In the current conditions of production, more and more subjects, in our social formation, are fans of social networks, especially relationship applications. Since its creation in 2012, Grindr, a homoerotic dating app, has had an increasing number of users. With more than 10 million downloads made, the application has space for the heterogeneous constitution of subjects. Men-subjects who subscribe to the application seek the commodification of the body, inciting the desire of the other, of the possible subject-user. According to Vinhas (2021), the subject constitutes itself as an image of its body, that is, the body is the body of a subject, so that ideology also crosses it and makes it signify (VINHAS, 2014). I seek to analyze, with this work, inscribed in the theoretical-methodological device of Discourse Analysis by Michel Pêcheux, the functioning of the discourse of the commodification of the body from the discursivities collected in this relationship application. For this, taking up the theoretical-methodological assumptions of Pecheuxtian DA, in the first chapter, I discuss the notion of body, materiality, language, ideology, etc., analyzing three profiles in which I identify a process of selling the body. In the second chapter, I present the notions of virtual space, digital media, among others, in order to describe the features of Grindr. In this chapter, I analyze the functioning of the application's screens and tabs, in order to understand the subject's subjectivation movements that take place there. Finally, in the third chapter, with clippings made from Grindr, I work with materialities that textualize the male body as an object of the other's desire, so that the body slides into the commodity-body. Even though the body, in labor relations, has always been subjected to the oppression of capital, this functioning now presents itself in another way: the commodified body on Grindr is intertwined with a functioning of ideology, in its most perverse form (GRIGOLETTO, 2017), which makes the subject believe in his freedom, since, in this context, there would be no other subject under his control. From the analytical work, I understand that the body, the subject's materiality, crossed by commodification, slides into the commodity-body, which, through the subject's movements in the network, means by its inseparable entanglement to ideology, covered by a digital layer, that allows capital to produce other forms of domination.

Learning foreign languages, especially those spoken in countries which are economically important in world history such as English, German, Spanish and French, was restricted to the Brazilian elite for many centuries. This scenario has changed since the second half of the 20th century due to the advance of globalisation and, consequently, the development of new technologies that allows communication between different countries. As part of this new social and economic outlook, economic blocs, for instance, the European Union (EU) and Mercosur, were created and, hence, an advance in integration and mobility took place in order to fulfil the lack of skilled workers who are able to live and work in different places without language barriers. Therefore, It would be necessary for workers who are already integrated in the labour market to learn new languages and, concomitantly, for schools to invest in language teaching and in this way, even more mobility can be granted to future generations. Thus, in order to learn languages as fast as possible, new methods and educational approaches needed to be developed. This paper is about the Content and Language Integrated Learning (CLIL) approach which originated in Europe and which aims to accelerate language learning by teaching content and language in the same class. Although it was developed at the end of the last century, this approach only gained strength in Brazil from 2010 onwards with the emergence and growth of bilingual programmes in primary schools commercialised by national and international publishers. In order to analyse the application of this approach, we started the research by investigating the historical context of second language teaching and learning in the country, from the arrival of the Portuguese until the present days, taking into consideration the social, political and educational background of that era. Subsequently, we present the CLIL approach in detail, its origin and characteristics, as well as its variations in Brazil. Finally, we investigate the application of CLIL characteristics in textbooks used by bilingual programmes in the city of Recife, books that claim to use this approach as their guidance basis. The aim of this research is to offer support to department heads and teachers who want to implement a bilingual programme in their schools using CLIL as the basis for their bilingual education.

This research has as its main purpose analyse, under the Critical Discourse Analysis (CDA), especially based on Norman Fairclough and Gunther Kress and Theo Van Leeuwen works, the representation of suicide in the American Netflix series 13 Reasons Why. It is chased, as specific purposes, reflect about how discourse practices act in the way to sustain or suspend the social structure to maintain the discourse domination of stereotyping, guilting, exposing, and silencing suicide. Considering the importance of discussing about it, as a social phenomenon, public health issue and human crises, I conduct this research in the way of the understanding social basis views of suicide, as from observation of social and discursive aspects, in view of elements in the representational construction of the aforementioned series signifying suicide. It will be considered, thus, the perspective, social distance, transnationality, modality, salience and symbolic conception in the discursive audio-visual construction (Kress and van Leeuwen, 2006 [1996]), as its modes of evaluation, named evaluation stance, category based on Fairclough (2003). Therefore, I will analyse the first season, for it on in the main character, Hannah Baker, consummate her suicide, besides mention the “13 reasons” for her self-provoked death. Based on the analyses undertaken, it is possible to notice how social structures become reproductive of prejudice, taboos, and stereotypes, which crystallizes and potentiates excluding and silencing behaviours against people considered “suicidal”.

The objective of this dissertation is to compare the works A poesia em pânico (1939), by Murilo Mendes and A pintura em pânico (1943), by Jorge de Lima, with emphasis on the melancholic traits present in each production. For this, theoretical studies on melancholy have been recovered, especially with regard to the feelings of loss and sadness, inherent in this condition, as Freud (2010) discusses. In this perspective, it was observed that - in both works - melancholy finds its genesis at the moment of rupture with the sacred, when lyrical subjects move away from religiosities. In the books mentioned, melancholic representation is perceived both in the thought of divine punishment and in verses/photomontages in which aspects of self depreciation are evidenced. In addition, it was found that, in A pintura em pânico, the addition of another semiotic system - the photomontage - engenders a new way of catalysing melancholic images, including because the Alagoan dialogues not only with Murilo Mendes, but with other works of art history. Therefore, the fragmented structure - intrinsic to the collage technique - already points to the presence of melancholy. Starobinski (2016) , Freud (2010), Quinet (2006) Costa Lima (2017), Eisenstein (2002) and Friedrich (1978) support the critical-analytical itinerary of this work.

O propósito dessa dissertação é analisar, comparativamente, a representação do subúrbio carioca no romance Clara dos Anjos, de Lima Barreto, e no conto Espiral, de Geovani Martins, com o objetivo de explorar o que permanece como elemento fulcral na formação das relações construídas a partir deste espaço social. A análise tem como referência dois momentos históricos, completamente, distintos, uma vez que a produção de Lima Barreto pertence ao início do século XX e o conto de Martins, ao início do século XXI. Buscamos compreender as sintonias temática dos autores, por meio de uma análise paralela da trajetória intelectual de ambos, uma vez que os escritos dialogam em profundidade e sinalizam que, para eles, a literatura se propõe a algo maior. Procuramos, ainda, examinar as relações de ambivalência do colonialismo e dos sujeitos subalternizados nas referidas obras. Para tanto, investiga-se a fortuna crítica dos autores, a formação da América Latina e os acréscimos valorosos dos estudos pós-coloniais para concernir o impacto dessa origem traumática na produção textual dos dois. Por fim, investiga-se as questões de raça, políticas sociais e violência, como marca das obras em comento.

This work aims to contribute to the studies between society and language and focuses on the analysis of tweets written by women on contraception based on Systemic-Functional Linguistics (LSF) (HALLIDAY 1999; HALLIDAY & MATHISSIESSEN 2014. This theory conceives language as a semiotic potential in meeting the needs of the society in which it is used. The objective of the research is to verify marks of Evaluativity in the tweets in order to recognize the impacts of these marks in the construction of the message from the categories of the Subsystem of Attitude, such as of sociocultural behaviors and values (objects/beings). The specific theoretical framework on Evaluativity is based on the studies of Martin and White (2005), researchers who created and disseminated this theory from Halliday’s studies on LSF. The methodological cut was given by the collection of tweets in January 2021, in order to analyze how, after one year of the beginning of COVID-19, the impacts on the health and reproductive life of Brazilian women would manifest in the writings. It is proposed to study the opinions of women regarding contraception, since there is a great social responsibility about them about the use of contraceptives, even in pandemic times in which health difficulties were aggravated. As a result, it was observed that the Assessment was the category most used by the users, with 124 evaluative items, and the hypothesis that women have a more negative view regarding contraception and contraceptive methods was confirmed, by analyzing the linguistic resources chosen by them to publish the tweets.

This research aims to investigate the refractions of Christian discourses, specifically Christian iconography, from the perspective of subaltern bodies, as well as the responsive discourses to such refractions. Thus, we will question the duel between dialogic word vs. authoritarian word. We are based on the dialogic analysis of discourse, in its concepts of alterity, dialogism, discourse, and utterance outlined by the Bakhtin Circle (1999; 2000; 2002) and Volochínov (2018), as well as tracing a dialogue between Foucault (1995; 1999; 2008; 2009; 2013) and Bakhtin (1997; 1999), based on the notions of body, power, utterance, and discourse. In this way, we have a theoretical framework divided into two volumes: Dialogic Analysis of Discourse (ADD) and concepts from Foucauldian thought. The discourse material selected for the construction of the analysis corpus split into two interpretive processes that align with the type of research being conducted: a) the utterances that refract Christian imagery by subaltern voices; b) the responsive acts to these refractions - in order to reach the qualitative approach that guided the analysis, guided by the concepts-categories already exposed. The corpus built, submitted to the analytical process, emerged from two discursive events: a) the performance of the crucified transvestite in the São Paulo LGBT parade in 2015; b) the parade of the Mangueira samba school in 2020, which themes the representation of Christian iconography under the gaze of subaltern voices. The responsive acts and replies to these discourses are described from the voices of representatives of the political and religious fields, such as General Luiz Eduardo Ramos, former President Jair Bolsonaro, former Minister Damares Alves and pastor and Federal Deputy Marcos Feliciano. Thus, we question the discursive struggles around the image of Christ, the legitimacy of voices resistant to the authoritarian word, and the meaning effects from these positions highlighted here.

Este trabalho tem como tema principal a metamorfose como metáfora da
identidade moçambicana em “Contos do nascer da Terra” de Mia Couto. A partir dos
textos selecionados, abordaremos o uso da metamorfose como um recurso
relevante para a realização metafórica do desabrochar identitário moçambicano.
Assim, os contos da obra em estudo serão analisados no campo da Teoria da
Literatura (Linha de Pesquisa 1: Literatura, sociedade e memória). Nesse sentido,
abordaremos temáticas que revelam a religiosidade na literatura coutiana como
aspectos da tradição ancestral e circunstâncias onde o “insólito” se faz presente.
Dessa forma, os contos foram organizados em três ciclos temáticos: nos dois
primeiros, prevalecem as metáforas existenciais sobre a perspectiva do imaginário
popular moçambicano: a solidão humana na figura do idoso (o qual representa a
tradição); o além, como percepção de vida após a morte (filosofia muntu), bem como
a contação de estória, enquanto resgate identitário (memória ancestral), já no
terceiro eixo temático, realismo animista é associado ao sentimento de luto e de
renascimento, tendo como elemento principal a metáfora da metamorfose. Com
base nisso, no primeiro eixo temático, “O papel da ancestralidade africana na
identidade”; no segundo eixo temático teremos “Memória e oralidade na narrativa
breve de Couto; e no terceiro eixo temático “A metamorfose e Muntu nos contos de
Mia Couto”. As discussões e análises serão pautadas nos estudos dos seguintes
teóricos: Ana Mafalda Leite (2014) sobre oralidade e metamorfoses, Francisco Noa
(2015 e 2018) e Rita Chaves (2008) sobre a contextualização do espaço literário
moçambicano, de Stuart Hall (2006) sobre identidade e memória, de Ezio Lorenzo
Bono (2014) sobre a “ideia de pessoa muntu”. Quanto ao caráter mítico e lendário
dos contos, os estudos de Chiampi (1980) e Todorov (1994) sobre as concepções
de Realismo Maravilhoso e Fantástico, em contrapartida, os estudos de Sueli da
Silva Saraiva (2007) e Sílvio Ruiz Paradiso (2015/ 2020), sobre análise do insólito
em narrativas de autores africanos com base na concepção de Realismo Animista.
Dessa maneira pretende-se compreender como o imaginário popular de Mia Couto,
impresso nos contos, traduz, metaforicamente, elementos da cultura de
Moçambique, contribuindo para a realização identitária do povo africano e, de algum
modo, dos brasileiros.

The objective of this research was to observe how metafictional aspects existing in the novel Little Women [1868]/(2019), written by the American author Louisa May Alcott (1832-1888), were adapted for the film Little Women (2019), directed and scripted by Greta Gerwig (1983-). Concerning the theoretical contribution, we first discussed the concepts of metafiction, studied by Baldick (2001) and Bernardo (2010b), and analyzed how these definitions may be applied in the literature from the studies of Hutcheon (1980) and Waugh (2001). In the field of cinema, we analyzed how metafiction was observed through the works of Baláz (1983) and Xavier (2003). From the perspective of the Adaptation Studies, with Hutcheon (2011) and Stam (2005; 2006), we observed how the self-reflective and self-referential resource of metafiction is seen in the novel Little Women (2019) and with what intention those same elements were adapted in the movie Little Women (2019). This research also investigated the coming-of-age novel (Bildungsroman) based on the studies by Lukács (1994) and Noomé (2004), and what impact it had on Alcott’s literary work from the perspective of feminist critics such as Showalter (2020). With a film adaptation that highlights the feminist and progressive discourse existing in the literary work, we used the concept of femininity by Toril Moi (1989) and its relation with feminism, as well as the ideas related to women and literature by Woolf (2019). The corpus of analysis and interpretation of the research consists of selected excerpts from the novel and the film, pointing out where metafictionality is found in each of them, and why it was possibly used. We understand that the adaptation of Nineteenth-Century novels to films, as Gerwig’s Little Women, highlights the need to elaborate, adapt, and (re)interpret the narratives that bring current issues from contemporary society to be debated, such as misogyny, female oppression and sexism. It is, therefore, a study that seeks to highlight the relevance of Alcott’s work through Gerwig’s adaptation, joining, from metafiction, writer/character/director, as if they were all at the same time, place, and space.

El presente trabajo pretende realizar una "arqueología" del discurso de castas producido en Nueva España entre los siglos XVI y XVIII. Dicho discurso consiste en un conjunto de ideas y concepciones sobre la jerarquización social basada en el linaje, reveladoras del pensamiento y la ideología de las élites coloniales novohispanas. Así, se propone un amplio estudio de la retórica de las élites a lo largo del periodo virreinal, buscando identificar los orígenes del discurso, su evolución y sus diversas manifestaciones. Para ello, se revisan, por un lado, los textos oficiales y literarios producidos durante la época colonial, tanto en el propio Virreinato como en Europa. Por otro lado, se lleva a cabo un análisis de las imágenes producidas a lo largo del periodo, con especial atención al género de la pintura de castas, con el fin de poner de manifiesto el diálogo entre estos dos corpus. Este trabajo pretende subrayar la importancia de una lectura cruzada entre textos e imágenes para comprender los mecanismos de producción y cristalización de los discursos de poder en el imaginario colectivo de europeos y americanos. Su relevancia también radica en que la aproximación al periodo colonial permite comprender las relaciones de poder y los comportamientos discriminatorios que persisten en la actualidad como reminiscencias de las tensiones vigentes entre los siglos XVI y XVIII.

Europe has a direct influence on world systems and established prior structures that cross the concept of race. This extract caused an ontological difference between Europe and marginalized civilizations in global power dynamics. Africa began to be explored by European peoples around the 15th century, when it already had a highly organized political, social, and cultural system. In this century, the process of sabotage against black people began. Myths about characteristics of the black body were reproduced, as well as alienation based on the repetition of repressive mechanisms, which caused the black person to lose confidence in themselves, in addition to the domination of the Catholic Church and pseudo-justifications given for the continuation of exploitation. In the history of Brazil, the figure of the black person is marginalized in terms of their place in the society where the events occur and in the history that is told. Marginalization is a term that consistently represents many positions directed towards black people in past and current times. This complex process is constituted by areas such as politics, society, and culture, being valid for this study mainly in relation to language and literature. Therefore, in this dissertation, we propose to analyze, based on the generative constituents of a literature that aims to be black, how the characteristics of the text written by the black writer Domingos Caldas Barbosa in the work Viola de Lereno (1760) reveal the existence of a literature that reaffirms its blackness, even in the eighteenth-century context, based on historical, linguistic, and psychological factors, as well as locating and contextualizing the relevance of the work and the author; explaining the reformulation of narratives about black literary productions in the 1700s-1800s, starting with the work Viola de Lereno, and elucidating values of history, memory, and black existence. To fulfill the purpose of this dissertation, several readings were carried out, resulting in a list of authors that will be used as points of support for the arguments constructed throughout the study, whether for agreement or refutation. The main authors highlighted include David Brookshaw (1983), Zilá Bernd (1994), Domício Pronça Filho (2004), Conceição Evaristo (2008), Kabengele Munanga (2020), and Frantz Fanon (2008). This dissertation finds its relevance when it is still necessary to shed light on literary history and productions by black people in certain periods; when, in addition to a literary-academic bias, the project serves society in the perspective of rehabilitation and strengthening, through the analysis of literary texts, of the values of history, memory, and black existence.

This research proposes to analyze the ways of expressing suicide in the book The fall, written by the philosopher Albert Camus (1913-1960), pointing out ways in which these ways of saying are intertwined with the networks of symbolic constructions crossed by the theme. Points of (de)stabilization of these networks that cross the ways of saying suicide in the referred work and its effects of meaning on the understanding of this practice in the twentieth century and in the contemporary world were outlined. Camus (1913-1960) lived the post-war period and presents his philosophy by elaborating anguishes and dilemmas of his time through literary devices such as short stories and novels, being constituted as a relevant object of study both from a literary and philosophical point of view, provoking a great impact on the construction of 20th century thought (LINS, 2016). From the perspective of Michel Pêcheux (1997; 2008; 2012; 2019), this work seeks to understand the effects of meaning on the term suicide that are constructed in Camus' writing regarding the possible places of this notion in the set of the work. Starting from the relationship between literary discourse and the theoretical constructions of Lacanian psychoanalysis, the understanding of suicide as an act was discussed, tracing a reflection on the effects of the ways of saying suicide analyzed in Camus's work for a questioning-reformulation in the way of understanding - say suicide and its prevention in the National Policy for the Prevention of Self-Mutilation and Suicide. Questioning voluntary death within hegemonic productions of meaning opens space for a polysemic listening to this practice and, thus, to its care strategies. The work of Discourse Analysis (DA) stands out here as a theoretical-analytical device that enables reading gestures about discursive understandings in different orders and whose concreteness is produced through the various materialities produced from a political-ideological place. The DA was brought as a possibility of amplification of the symbolic work through the language making sense, forming notions of its context, of the conditions of discursive production and, consequently, of the historical positions previously assumed. This texture sustains a web of relationships between the linguistic materiality of the texts, the historical processes and the social practices that participate in their production conditions. For analysis, clippings of discursive sequences were outlined within the corpus which touch the construction of the notion of “suicide”. From this movement, it was possible to explore – taking into account different reading gestures and ways of saying about this notion – notes of meaning effects, composing suicide as a movement faceted by polysemic dimensions based on concepts such as enigma, punishment and resentment. Thus, movements of tension and rupture in the network of meanings were promoted, opening questions in front of this practice, placing it as pluralized and distant from a univocal conception of the phenomenon. Given the above, it was possible to build an opening for the understanding of voluntary death as an experience endowed with a semantic heterogeneity, which enables not only the expansion of possible conditioning factors and other possibilities of care, but the encounter with the dimension of acting as language. 

Death in the arts, especially in literature, holds on an undeniable space, has being personified and symbolized across the various periods of time, peoples, and cultures. Received faces, body, expressions, and attributes that it has been constructed over the time and in to according with the contextual aspects of each period. Given this, this one investigation objectives to analyze this theme of representing death like woman in 19 turns of the century literature, specifically, in the poetry of Rubén Darío and Cruz e Sousa, at the lights of Thematology - a field of comparative literature that focuses on the study of themes and this one in literary works. To execute this analysis, particularly, we have focused on the transformations that about 18th and 19th centuries experienced in the influenced by Rationalist, Enlightenment and Positivism, just like the popular revolutions that permeated those years in order to assimilate the socio-historical context in which Romanticism emerged and, subsequently, neo-romanticism, commonly known as Symbolism. As a result, we will analyze and selected poems from the works of Rubén Darío, a Nicaraguan modernist poetry whom was influenced by of the prevailing symbolist aesthetic of this time in France, as like selected poems has chosen from Cruz e Sousa, Brazilian Symbolist and pre-modernist poetry in order to highlight where the aspects of death woman converge and diverge in Ibero-American Symbolist poem.

ABSTRACT

This research, entitled Contributions to the teaching of E/FL: Foreignisms and Neologisms in the Lexicon of Current Spanish in the Light of Lexicography, of a descriptive nature and focused on a field today considered fundamentally theoretical, aims to discuss the concepts of Lexicology, Lexicography and Neologisms, and analyze slogans corresponding to four modern dictionaries of the Spanish language, highlighted, published in the last two decades, (SECO et al, 1999; MOLINER, 2007; ALVAR EZQUERRA, 1994; 2003). The methodological procedures of a practical nature establish a corpus with the lexemes that will be the object of our analysis from a collection in the aforementioned dictionaries. The work has as its starting point for its development a critical review of the most important works carried out and published up to the present and of those that may be published in the course of research related to the Spanish language and its teaching. The study shows the structuring of dictionaries and their types, their relevance for language teaching, and how societies and cultures are revealed through these works. It also seeks to reflect, discuss and understand how discourses are produced and conveyed through these dictionaries, in order to demonstrate that contemporary language contains a large number of lexical units arising from the lexical creativity of speakers, manifested in their orality. With this, the research intends to contribute to the development of dictionary studies and lead to reflections on Lexicography in E/FL teaching.