The teacher’s discursive practice is constituted in the dialogical relationships among subjects in real situations of language use, which, according to Mikhail Bakhtin ([1977] 2011), materialize in the production of concrete utterances. In the context of Portuguese Language (PL) teaching, these processes are shaped by specific modes of teacher subjectivation, intensified in the Digital Age. Considering that spaces of interaction may be (re)oriented by unexpected events, such as the covid-19 pandemic, this study is grounded in the assumptions of the Bakhtin Circle, according to which the subject is discursively constituted in and through interaction by means of concrete utterances. From this perspective, we pose and substantiate the following research question: how does the Portuguese Language teacher, in the digital classroom, constitute themselves responsively within the dialogical relations of the teaching–learning process? In light of the Bakhtinian dialogical perspective, we investigate how discourse genres that emerge in the virtual classroom materialize relations of responsiveness, as well as the discursive processes articulated with forms of expression characteristic of the digital space. To this end, we adopt Dialogical Discourse Analysis (DDA) to construct and analyze a corpus produced during the pandemic period. The discussion, therefore, focuses on the teaching dimension, considering the discourse genres that shape the pedagogical relationship in the digital context.
This article analyzes the performance of Recife’s mayor, João Campos, in his Instagram posts, focusing on the adoption of the “nevou” aesthetic during the 2024 Carnival. The study investigates how this enactment, initiated by the challenge of singer Anderson Neiff and amplified by artists such as MC Elvis, contributed to the construction of a political persona that appropriates cultural codes of the periphery and strategies typical of digital influencers. The analysis draws on Taylor (2013) and Carlson (2010) to understand the strategic dimension of performance and its ability to mobilize emotions and audience identification; on Martino (2014) to discuss the logic of webcelebrities and fandom; on Manovich (2001) to examine the concepts of variability and flow in digital media; and on Goffman (1985) to explore impression management processes. Methodologically, the study combines qualitative content analysis with guidelines for digital platform methods (Maia; Orlandini; Oliveira, 2022), encompassing visual, textual, and engagement metrics. The results show that João Campos’s digital performance represented a significant transformation of his public image, turning an aesthetic gesture into a strategy of cultural mediation and consolidating his popularity through the validation of Recife’s cultural figures and the massive engagement of followers. The research also reveals how, even as a staged performance, João Campos acts as a cultural mediator, bringing visibility to peripheral movements for a broader audience, while depending on validation from local actors to sustain his “maloca da periferia” persona in communities.
O presente estudo investiga as estratégias discursivas dos tecnodiscursos motivacionais na rede social Instagram sob a ótica da Análise Textual dos Discursos (Adam, 2011; 2019), da teoria do Ponto de Vista (Rabatel, 2013; 2016a; 2016b) e da Análise do Discurso Digital (Paveau, 2022). O objetivo geral é analisar, textual e discursivamente, os pontos de vista e a responsabilidade enunciativa em tecnodiscursos motivacionais expressos em posts no Instagram. Como objetivos específicos, pretende-se: i) identificar e descrever os pontos de vista, bem como os movimentos de (não) assunção do conteúdo proposicional nos tecnodiscursos motivacionais; ii) analisar as posturas enunciativas dos locutores-enunciadores quanto aos pontos de vista imputados a outrem, considerando a formação discursiva que os regula; e iii) interpretar os sentidos suscitados pelos tecnodiscursos motivacionais. A pesquisa adota a abordagem qualitativa (Paiva, 2019), de natureza descritivo-interpretativa (Gil, 2002) e segue o processo misto de análise, a partir da articulação dos métodos dedutivo e indutivo (Moraes, 2003). O estudo revelou que os pontos de vista, assumidos ou imputados, apresentam forte potencial persuasivo; assim, em todos os casos, observou-se correspondência com necessidades humanas como estima e autorrealização. A responsabilidade enunciativa manifesta-se principalmente pelos índices de pessoa e pelas modalidades téticas, predominando as posturas de coenunciador e superenunciador.
Este artigo examina a linguagem como prática pós-humana e investiga de que modo algoritmos, robôs e avatares atuam como agentes de enunciação na era da inteligência artificial. A partir de autores como Latour (2020), Barad (2003, 2007), Pennycook (2018), Morin (2025) e Lemes (2025), e de uma metodologia exploratória de abordagem qualitativa, argumenta-se que a linguagem não se restringe à ação humana, mas se distribui em redes híbridas compostas por humanos e não humanos. Essa perspectiva desafia concepções tradicionais de autoria, voz e subjetividade ao situar a produção de sentidos em assemblagens materiais, tecnológicas e afetivas. Foram analisadas duas materialidades discursivas: o avatar corporativo Lu do Magalu e a deepfake de Morgan Freeman. Ambas exemplificam como as novas ecologias comunicativas reconfiguram a confiança, a afetividade e a percepção do real por meio de tecnologias de síntese e mediação. A primeira evidencia como agentes virtuais podem performar proximidade emocional e estabilizar formas de interação digital. A segunda revela a fragilidade da percepção em contextos de realidade sintética, nos quais verdade e simulação se tornam indiscerníveis, expondo as dimensões éticas e políticas da enunciação pós-humana. O estudo defende a necessidade de uma Linguística Aplicada indisciplinar e crítica, capaz de compreender a linguagem como acontecimento material-discursivo que ultrapassa as fronteiras do humano. Tal abordagem convoca uma reavaliação do que significa falar, ouvir e interpretar em uma era moldada pela mediação algorítmica. As práticas linguísticas pós-humanas, por fim, convidam a um renovado olhar ético e epistemológico sobre as relações entre humanos, tecnologias e as realidades que produzem conjuntamente.
In this approach, we understand that the discourses of cancel culture are symptomatic of the upheaval that the digital order has brought to the processes of subjectivation, emerging in a socio-historically situated time and space affected by contemporary capitalism, which operates through the mediatization of life on social networks. In this direction, we seek to make explicit the functioning of ideological affiliations—that is, the effect of alignment of meanings within a given chain of signification—a relation that guides the meanings of cancel culture in digital circulation, specifically on the website Dicionário Informal. To this end, we adopt as our theoretical-methodological horizon the framework of Materialist Discourse Analysis, which allows us to produce interpretive gestures about the term cancel culture within production conditions where power relations are organized through circulation. Methodologically, we follow these steps: (1) description and interpretation of the registration process on the Dicionário Informal website, aiming to make explicit the movement from the position of user to that of subject-lexicographer; (2) mobilization of the gesture of selecting and analyzing the definition produced by the user-subject @Antonio Aquino, exposing the fragility of authorship; and (3) comprehension of the entanglement effects from which senses emerge, reaching the ideological dimension. From this trajectory, we point out that the discursivization of cancel culture analyzed here reveals the fractures of a divided society marked by intolerance, reaffirming the need to produce intelligibility regarding current discursive conditions—through gestures that take responsibility for the consequences of the notions of language and subject implicated in a materialist discourse analysis.
