Denna uppsats undersöker hur receptionen av The New Look såg ut i svenska mode- och damtidskrifter åren 1947-1948, med syftet att se om denna centrala modehändelse lämnat några spår i den svenska samtida modejournalistiken, samt hur den i så fall mottogs och tolkades. Metoden är en receptionshistorisk, tematiskt upplagd textanalys. Undersökningen visar att de svenska modeskribenterna rapporterade om The New Look mellan våren 1947 till hösten 1948, i första hand under den svenska termen “den nya linjen”. Resultatet visar att detta efterkrigstidsmode snarare sågs som ett allmänt parismode och sattes i samband med flera av Paris modeskapare, varav Christian Dior sågs som en av de främsta – detta skiljer sig något från bilden av The New Look internationellt, i den traditionella modehistoriska litteraturen. Samtidigt kan man se att The New Look uppfattades som en revolutionerande modehändelse även ur ett svenskt perspektiv. Vidare undersöks den kritik som förekom mot den nya linjen och några huvudtyper av argument urskiljs; bl.a. diskuteras skribenternas estetiska och praktiska invändningar samt den samtida feministiska kritiken. Undersökningen visar att den nya linjen väckte samhällets reaktioner, särskilt förekom en debatt om tygslöseri vilken skall ses i ljuset av en efterkrigstidskontext med en rådande materialbrist. Resultatet visar att de svenska skribenterna fokuserade på de måttfulla dragen i den nya linjen, och att stilen anpassades något efter svenska behov, som både hade med den ekonomiska verkligheten samt en svensk uppfattning om välkläddhet att göra.

The present paper studies the English imperatives look and listen used as discourse markers. The study focuses on two aspects: firstly, to identify the factors indicating the primary function as opposed to the discourse function of look and listen in English, and secondly, to analyse the Czech counterparts of these verbs used as discourse markers. The paper is comprised of two main parts. The first, theoretical background, describes the grammatical form of the English imperative with focus on look and listen, the concept of discourse markers, the cross-linguistic studies focusing specifically on look and listen, the correspondence between English and Czech imperative, and the potential Czech counterparts. The second, empirical part analyses two hundred and three examples of the imperatives look and listen and their Czech counterparts from the parallel translation corpus InterCorp. Key words: imperative, look, listen, discourse markers, primary function, Czech counterpart

Inutile de rappeler la prééminence du regard dans les oeuvres d’Alain Robbe-Grillet etparticulièrement dans Le Voyeur, La Jalousie et Instantanés qui forment le corpus du présenttravail. En apparence, l’auteur se contente de formuler très objectivement la subjectivitéhumaine. Et voilà que l’oeil de la concupiscence charnelle vient entamer cet ordre parfait,géométrique que l’on aurait cru inaltérable. L’objectif de ce travail est justement de montrerque l’oeil de l’arpenteur géomètre dissimule celui du pervers, à la recherche de la jouissance àtravers le regard.La première partie de ce travail, « Montage du regard », analyse les sujets regardantset les sujets/objets regardés dans leur diversité. La volonté de maintenir la distance entreregardeur et regardé et d’instaurer un regard distant est remise en question par tous lesprocédés textuels confirmant la présence d’une subjectivité qui regarde. Une subjectivité quiregarde, mais qui est aussi perverse. C’est ce que tente de montrer la deuxième partie,« Regard pervers et jouissance ». Il s’agit en fait non seulement d’étudier la présence effectivedu voyeur dans ces trois oeuvres, mais aussi de l’approcher dans sa diversité. La troisièmepartie, « Répétition et jouissance », vient confirmer la présence du voyeur pervers, toujours àla recherche de la jouissance par la ressaisie du spectacle convoité, d’où la présence de figuresobsédantes en leitmotiv.Notre approche sera une pure recherche formelle : analyser le regard, c’est mettre enévidence son fonctionnement textuel, par le moyen de la linguistique et de la stylistique. Ellecontribuera à élaborer une nouvelle lecture du regard chez Robbe-Grillet. / It is needless to mention the supremacy of one particular feature in Alain Robbe-Grillet’s works; namely, the look as it is particularly found in Le Voyeur, La Jalousie andInstantanés. These 3 works serve as the corpus for the research at stake. In appearance, andquite objectively, the author seems to be simply expressing human subjectivity. But therecome along eye of lust, altering every perfect geometrical order one could have noticed upuntil now. The goal of this work is to actually unveil the fact that the eye of the surveyor, thegeometer, is only an artifact dissimulating a perverted eye constantly in search of carnalpleasure through the look.The first part of this work, titled “Montage du Regard” ‘The optic setting’, is ananalysis of the observer and of the elements which are observed as diverse as they may be.The will to keep a distance between the observer and the element which a observed isconstantly questioned through the presence of textual elements that clearly reveal asubjectivity in the act of looking at a particular element. A subjectivity that observes, butwhich is also perverted. This is fully analyzed in the second part of the research, “Regardpervers et jouissance” ‘A perverse eye and a sensual pleasure’, which not only analyses theactual presence of the voyeur in the three works mentioned earlier, but also attempts toapproach him and tackle all his diverse aspects. The third part of this study “Répétition etjouissance” ‘Repetition and sensual pleasure’ reaffirms the presence of a perverted observer,always in search for carnal pleasure through the recapture of the coveted show. This furtherexplains the presence of obsessive scenes in a leitmotiv.Our approach in this study is based on a formal analysis of the look. Its goal is tohighlight its textual functioning thanks to linguistic and stylistic means, which will lead theway to a new reading and reconsideration of the look in Robbe-Grillet’s works.

Ao nos depararmos com os possíveis sentidos que circulam em relação à busca pelo corpo belo e perfeito, isto é, a busca pelo corpo magro, nesta pesquisa, entendemos que o corpo se tornou uma forma de representação de saúde e beleza, pois, na chamada modernidade líquida, o imaginário social é constituído pela memória discursiva que evoca sentidos tecidos sócio-historicamente sobre o padrão corporal fluido, contribuindo para que os discursos existentes sobre a busca pelo corpo belo e perfeito afetem a imagem que o sujeito faz de seu próprio corpo, ou seja, afetam a imagem que ele deseja alcançar para se sentir incluído na sociedade que o cerca, seja para atingir o padrão de beleza ou para se sentir saudável. Compreendemos, assim, que o corpo inscreve-se no discurso do sujeito, pois faz parte das formações discursivas que o permeiam, isso porque a subjetividade se instaura no momento em que esse corpo reclama por sentidos outros. Consequentemente, ao analisarmos os discursos de sujeitos que fizeram a cirurgia bariátrica, observamos que houve a necessidade de recorrer a esse procedimento cirúrgico para que pudessem fazer parte deste novo corpo, pois surge o desejo de: perder peso, inclusão social e/ou sensação de bem-estar. Desta forma, ao pensarmos sobre como o corpo obeso pode atravessar diferentes sentidos e também apresentar/sofrer relações de poder, nessa relação com o simbólico e com o político, entendemos que o corpo ganha interpretações por meio do olhar e que a percepção de corpo pelo sujeito está diretamente relacionada aos discursos que circulam pela realidade externa, como, por exemplo, o discurso médico, com isso a escolha pela cirurgia bariátrica pode estar relacionada aos sentidos de beleza e estética que silenciam outros sentidos que tratam sobre a saúde. Nesse ideário, esse trabalho visa a compreender os processos de subjetivação do sujeito-paciente de cirurgia bariátrica, a partir da análise de discursos por ele produzidos após o procedimento cirúrgico, suas expectativas, necessidades e ansiedades, assim como os resultados obtidos, investigando, por meio de marcas linguísticas, como os sujeitos foram/são afetados pelo discurso médico sobre o padrão corporal. Para a elaboração do corpus, foram coletados dados com base nas respostas de quatorze sujeitos que realizaram esse procedimento cirúrgico há pelo menos um ano, sendo cinco homens e nove mulheres, na faixa etária de trinta a cinquenta e cinco anos. O campo epistemológico de análise que sustenta a pesquisa é a Análise do Discurso pecheuxtiana, cujo dispositivo teórico-analítico será essencial para o movimento de interpretação e compreensão dos dados. Os resultados apontam sentidos dominantes, (re)produzidos pelos sujeitos que fizeram a cirurgia bariátrica os quais reproduzem o discurso médico que trata a cirurgia bariátrica como um lugar de completude e satisfação corporal, entretanto, são materializados outros sentidos que apontam para a não completude do sujeito e do corpo, de modo que o discurso sobre o corpo ideal fura, ou seja, o sujeito, mesmo tendo realizado a cirurgia bariátrica indicia a necessidade de realizar outros procedimentos cirúrgicos para se chegar à ilusória completude. / When we face the possible meanings that circulate in relation to the search for the beautiful and perfect body, that is, the search for the thin body, In this research, we understand that the body has become a form of representation of health and beauty, because in the so-called liquid modernity, the social imaginary is constituted by the discursive memory that evokes socio-historically woven senses on the fluid body standard, contributing for the existing discourses on the search for the beautiful and perfect body to affect the image that the subject makes of his own body, that is, affect the image that he wants to reach to feel included in the society that surrounds him, either to reach the standard of beauty or to feel healthy. We understand, therefore, that the body subscribes to the discourse of the subject, because it is part of the discursive formations that permeate it, this because the subjectivity is established at the moment in which this body complains for other senses. Consequently, when we analyze the discourses of subjects who performed bariatric surgery, we observed that it was necessary to resort to this surgical procedure so that they could be part of this new body, because arise the desire: to lose weight, social inclusion and/or sensation of welfare. Then, when we think about how the obese body can cross different senses and also present / suffer relations of power, in this relation with the symbolic and the political, we understand that the body gains interpretations through the look and that the perception of body by the Subject is directly related to the discourses that circulate through external reality, such as medical discourse, so the choice for bariatric surgery may be related to the senses of beauty and esthetics that silence other senses that deal with health. In this idea, this work aims to understand the subjectivation processes of the subject-patient of bariatric surgery, based on the analysis of discourses produced by him after the surgical procedure, his expectations, needs and anxieties, as well as the results obtained, investigating, by means of linguistic marks, as subjects were / are affected by medical discourse about body standard. For the elaboration of the corpus, were collected data based on the responses of fourteen subjects who underwent this surgical procedure for at least one year, five men and nine women, in the age group of thirty to fifty five years old. The epistemological field of analysis that underpins the research is the pecheuxtiana Discourse Analysis, whose theoretical-analytical device will be essential for the movement of interpretation and understanding of the data. The results point dominant senses, (re)produced by the subjects who performed bariatric surgery, which reproduce the medical discourse that treats bariatric surgery as a place of completeness and corporal satisfaction, however, other meanings are materialized that point to the non-completeness of the subject and body, so that the discourse on the ideal body is faulty, that is, the subject, even having performed bariatric surgery it indicates the need to perform other surgical procedures to achieve the illusory completeness.

[pt] Nos últimos anos temos ouvido que as novas tecnologias associadas à produção e circulação de informações e imagens são responsáveis por uma espécie de revolução da vida contemporânea, pautando ativismos sociais, bem como a forma como nos relacionamos socialmente. De fato as transformações ocorreram, mas não podemos pensar em uma relação determinista entre tecnologia e as mudanças sociais a ela atribuída. Mostramos neste trabalho que as tecnologias só se impõem na medida que encontrem um público que as aceite ou que de certa forma esteja preparado para recebê-las. Bem como na medida que parece neutra ou transparente. Deste modo voltamos nosso olhar para o papel da sociedade na chancela da fotografia como representação social moderna, sendo a fotografia o objeto deste trabalho. Procuramos mostrar, em três momentos distintos, as formas de ver, suas práticas e convenções sociais usadas na representação, bem como a maneira que os sujeitos sociais se dão a ver. Em um primeiro momento investigamos as formas de representação desde as primeiras imagens encontradas no interior de cavernas como Lascaux e Altamira, até o aparecimento da fotografia. Em seguida mostramos como o processo fotográfico é apresentado publicamente como democrático, natural e independente da mão do representador. Destacamos que é o uso da fotografia pelo poder político e a circulação nos jornais e revistas, que de fato a valida como a forma de representação social dominante. O uso da fotografia como documento de identificação e vigilância aliada às formas capitalistas de produção e industrialização do processo de representação identificam a fotografia como produto típico da modernidade. Por último, buscamos as influências das transformações econômicas e sociais sobre a representação fotográfica no período que se convencionou chamar de pós-moderno que culminaram na chamada Revolução Digital. Mostramos que de fato esta passagem não foi assim radical, visto que se deu paulatinamente, respeitando a lógica do mercado, apresentando novidades em doses calculadas de olho no comportamento dos consumidores. / [en] In the past few years we have heard that new technologies associated to information and image production and circulation are responsible for some kind of contemporary life revolution; underlining social activism, as well as the way we relate socially. Indeed transformations occurred, but we can not think of a deterministic relationship between technology and social changes attributed to it. We show in this paper that technologies impose only as they find an audience that will either accept them or that is somehow prepared to receive them. Insofar as it appears neutral or transparent. Thus, we turn our attention to the role of society in the endorsement of photography as a modern social representation, being photography the scope of this paper. We tried to show three different moments; the ways of seeing, its practices and social conventions, as well as the way social subjects display themselves. At first have investigated the forms of representation from the earliest images found inside caves like Lascaux and Altamira, until the advent of photography. Next we show how the photographic process is publicly presented as democratic, natural and independent of the hand of the artist. We highlight that it is the use of photography by political power and the circulation in newspapers and magazines that actually validates it as a dominant form of social representation. The use of photography as identification and surveillance document, combined with capitalist forms of production and industrialization of the process of representation, identify photography as a typical product of modernity. At last, we have looked for the influences of economic and social transformations on the photographic representation, during what has been called post-modern period, that culminated in the so-called digital revolution. We show that in fact this passage was not so radical as it happened gradually, respecting the logic of the market, presenting news in calculated doses with eyes on consumer behavior.

Made available in DSpace on 2016-04-28T19:58:38Z (GMT). No. of bitstreams: 1 Maria Elisa Cassamassimo.pdf: 415167 bytes, checksum: 875aaa31ce25d43fd61b0346cde21292 (MD5) Previous issue date: 2010-10-14 / Secretaria da Educação do Estado de São Paulo / This study was focused in the work Vidas Secas (2006), and the object of our research is the character Sinha Vitória. Our proposal seeks, in a way, supply in the fortune criticism of the novel, the absence of studies that bring into focus the feminine character in greater depth, to open a new perspective on reflexive Sinha Vitória and her transforming function in the course of the narrative. For that, we starting with these questions: how can we say that Sinha Vitória is the one who lives the internal world of the other characters, leading and giving force to them? In what way her projective look and her progressive language acquisition (starting at guttural sounds to a real articulated speech) are the responsables for her capacity in lead all the family? What is the real meaning of this feminine character in Vidas Secas? So, our hypothesis is that Sinha Vitória is structured under a principle in which their dialogical self awareness is defined by otherness, dialog with its own conscience and the other characters, especially with Fabiano; and that is she who provides in the work a liberating action of the cycle of drought, by means of self awareness founded on two pillars: the eye projective-imaginative and speech, whose transformation of guttural sounds until the speech articulated. This feminine character is, in our point of view, the strengh who moves this research, whose purpose is to understand the roots of a character built under the principle dialogical that is founded on the "look" and the "say". The theoretical foundations focused on several conceptions about the look contained in the work O Olhar (1998), organized by Adauto Novaes, and in Bakhtin´s theories about the dialogism and indirect free speech, specially in his works Marxismo e Filosofia da Linguagem (1999) and Questões de Literatura e de Estética (1998). This study presents Sinha Vitória´s projective look, whose strengh is able to make, in the speech, other new dialogical spaces / O estudo realizado centrou-se na obra Vidas Secas (2006), tendo por objeto de investigação a personagem Sinha Vitória. Nossa proposta busca, em parte, suprir na fortuna crítica do romance, a ausência de estudos que foquem a personagem feminina com maior profundidade, de modo a abrir uma nova perspectiva reflexiva sobre Sinha Vitória e sua função transformadora no decorrer da narrativa. Para isso, nos pautamos nos questionamentos: em que medida Sinha Vitória pode ser vista como aquela que habita o mundo interior das outras personagens e como força impulsionadora? De que modo seu olhar projetivo e a progressão de sua linguagem (que vai dos sons guturais à fala articulada) são os responsáveis pelo preenchimento dos espaços invisíveis e a tornam o guia do núcleo familiar? Qual é o significado profundo dessa personagem feminina em Vidas Secas? Como hipótese temos que: - a personagem Sinha Vitória está estruturada sob um princípio dialógico no qual sua autoconsciência se define pela alteridade, pelo diálogo com sua própria consciência e a das demais personagens, especialmente com a de Fabiano; é ela que confere a Visas Secas uma ação libertadora do ciclo da seca por meio da autoconsciência alicerçada em dois pilares: o do olhar projetivo-imaginativo e o do discurso, cuja transformação se faz dos grunhidos inarticulados até a fala articulada. Esta figura feminina é, portanto, a força que move essa pesquisa cuja finalidade é compreender as raízes de uma personagem edificada sob o princípio dialógico que se funda sobre o olhar e o dizer . Os fundamentos teóricos se centraram em diversas concepções sobre o olhar contidas no livro O Olhar (1998), organizado por Adauto Novaes e nas teorias bakhtinianas sobre o dialogismo e o discurso indireto livre, abordadas nas diversas obras do autor, sobretudo nos livros Marxismo e Filosofia da Linguagem (1999) e Questões de Literatura e de Estética (1998). A análise aponta, portanto, o olhar projetivo de Sinha Vitória, cuja força simbólica é capaz de criar, no discurso, novos espaços dialógicos

Esse trabalho versa sobre a questão do olhar nos terrenos da psicanálise e da arte, partindo dos efeitos produzidos no encontro com obra do pintor italiano Amedeo Modigliani. Ao buscar sentido para a representação no buraco dos olhos, presente nas pinturas do artista, tece reflexões acerca da imagem, no tocante à sua relação com o sujeito. Através da proposição utópica de interdição da imagem, sublinha a importância dessas criações que implicam outro modo de acesso à imaginação, destacando a sua função de corte, função de rasgadura que faz emergir a experiência do avesso. Ao despir a imagem do véu que lhe recobre, a angústia inquietante que irrompe nesse ato de contemplação com a imagem traz a dimensão do horror proposta por Freud (1919/2006b), desvelando a nudez do olhar. Algo da morte faz rasura na imagem, na direção do que Barthes (1980/2015) desenvolve ao situar a noção de punctum nas fotografias. Por fim, a reflexão sobre a máscara mortuária de Modigliani aponta a possibilidade de inserção da imagem na morte, reverso daquilo que o artista convoca ao se fazer a travessia das suas imagens em que algo da morte emerge lhes fazendo marca, recolocando, com isso, a questão dos limites da imagem no seu limiar com o real. / This paper approaches the matter of look in the fields of psychoanalysis and art, starting from the effects produced by the work of the Italian painter Amedeo Modigliani. Seeking meaning for the socket´s representation in the eye, present in the artist's paintings, it makes reflections about the image in the question to its relation with the subject. Through the utopian proposition of image interdiction, this work underlines the importance of these creations that imply another way of accessing the imagination, highlighting its function of cut, a function of ripeness that makes the experience of the reverse emerge. By undressing the image of the veil that covers it, the distressing anguish that breaks out in this act of imagery contemplation, it brings the dimension of horror proposed by Freud (1919/2006b), revealing the nakedness of the look. Something of death shears the image, in the direction of what Barthes (1980/2015) develops by situating the notion of punctum in photographs. Lastly, the reflection over the mortuary mask of Modigliani points to the possibility of insertion of the image into death, in reverse of what the artist convokes when crossing his images in which something of death emerges, marking them, thereby bringing about the limits of the image on its threshold with the real.

Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de création. / Less known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic.

Dans nos sociétés occidentales contemporaines, esthétiques et spectaculaires, le corps est un objet de fétichisme social de même qu'un écran sur lequel il est possible de projeter une identité maniable et changeante. Considéré comme le support de l’individualité, il est l'objet de toutes les métamorphoses. De simple parti pris vestimentaire, le style peut parfois se faire l’expression d’un véritable mode de vie, d’une existence qui s'établit à l'encontre des normes imposées par une société. L’apparence devenant la manifestation ostentatoire (parfois caricaturale) d’une prise de position politique, philosophique ou sexuelle.Quels liens unissent la pratique du cabaret New-Burlesque, du Cosplay, de la Sape ou du Voguing ?En apparence dissemblables, voire peut-être antagonistes ; regroupant des membres d'âges, de sexes, d'origines différentes et s'ignorant la plupart du temps l'une l'autre ; ces communautés sous-culturelles partagent néanmoins des symboles, une idéologie, une organisation structurelle et sociale comparables. Dans une forme maîtrisée de l’artifice et du théâtre, tous utilisent leur apparence comme dispositif de résistance et interrogent la validité et les limites des impératifs sociétaux. C'est du moins ce que cette thèse tente de mettre en lumière, par la photographie et sur le terrain de la sociologie. / In our contemporary societies, the body has become not only an object of social fetishism but also a screen where we can take on any kind of identity. Apperance can be transformed in a playground and used as a tool to resist society's standards. From a simple choice of clothing, a look can in fact express a global lifestyle. Even if seemingly light, style can show the choice of a certain way of life and be an exit from social constraints. It can reveal existential choices, whether political, philosophical or sexual.This researches are involving different groups of people and communities. What could possibly link Congolese Sapers, Voguers, Cosplayers, Roller derby and New-Burlesque performers? A priori different, most likely antagonistic and gathering a large range of people from various ages, social classes or origins, these subcultures still share a lot of similarities. From a comparable ideology to the use of similar symbols and compatible social organizations, they all seek to re-enchant our world in a critique of cast societies and question the limits of their social imperatives.In both photography and sociology, this PhD aims at forming a kaleidoscope of various facets of self-presentation in our contemporary society, with all its hopes and disappointments.

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No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Adrise_Ferreira_de_Souza_Dissertação.pdf: 12389578 bytes, checksum: d184131201433084328d87e7d388f2d3 (MD5) Previous issue date: 2016-03-28 / O presente trabalho tem por finalidade apresentar os desdobramentos de um ano letivo e suas reverberações nos fazeres artísticos e fotográficos dos discentes de sétimo ano da Escola Municipal de Ensino Fundamental Sant’Ana. Tendo como problema de pesquisa a seguinte indagação: Como pensar e produzir fotografias que transgridem o ato compulsivo de apertar o botão dos dispositivos fotográficos, e possibilitem criações estéticas, sensíveis, criativas, e reflexivas?” Diante de leituras teóricas e reflexivas sobre o estímulo da produção de multiplicidade, foram propostas abordagens fotográficas baseadas em alguns textos, e na proposição de vir a ser – devir – um animal, para experimentarmos outros olhares, e novas perspectivas diante da produção de fotografias. Os objetivos propostos foram alcançados, os quais visaram incentivar a criação de imagens fotográficas através do conhecimento sensível, possibilitando um novo olhar para o ato de fotografar, ao invés de reproduções das imagens que nos circundam, visibilizando a importância do ato fotográfico nas práticas contemporâneas, de modo que reflitam nas produções artísticas dos discentes. A relevância desta proposta para o ensino de Arte está na sua aplicabilidade voltada ao discurso, reflexão, produção e análise de imagens fotográficas, visto que a fotografia está inserida na contemporaneidade, não só nos setores artísticos, mas principalmente na sociedade. Faz-se importante instigar os estudantes a refletirem sobre a massificação fotográfica, e propor-lhes, uma produção mais consciente, responsável, respeitável e sensível através de estudos, reflexões, e produções fotográficas significativas, fomentando em suas produções o caráter de estesia visual e da criação. Alguns autores se fizeram importantes tanto na parte teórica das aulas, quanto na teoria deste trabalho. Tais como: Ruben Alves e Eduardo Galeano; bem como os fotógrafos Henri Cartier-Bresson e Sebastião Salgado. / This paper aims at presenting the unfolding of a school year and its reverberations in artistic and photographic actions of seventh grade students of Sant’Ana Primary Municipal School. Having as research problem the following questioning: “How to think and produce photography which transcend the compulsory act of pushing the button of photographic devices and make possible esthetical, sensitive, creative and reflexive creations?” In face of theoretical and reflexive readings about the stimulus of production of municipality, where the photographic approaches were proposed based on some texts, and in the proposition to become - an animal, to experiment other look, and new perspectives in face of the production of photographies. The goals were achieved, which aimed at incentivizing the creation of photographic images through the sensitive knowledge, making possible a new look for the act of photographing, instead of reproductions of images, which surround us, visualizing the importance of the photographic act in contemporary practices, so students can reflect on artistic production. The relevance of this proposal for art teaching is in its applicability aimed at the speech, reflection, production and analysis of photographic images, since photography is inserted in the contemporaneity, not only in artistic sectors, but mainly in the society. It is important to instigate the students to reflect on the photographic massification and propose a more conscious, responsible, respectful and sensitive production through studies, reflections and meaningful photographic productions, encouraging in their productions the character of visual esthetics and creation. Some authors were important not only during the theoretical part of the classes, but also in the theory of this paper. Such as Ruben Alves and Eduardo Galeano, as well as the photographers Henri Cartier-Bresson and Sebastião Salgado.