[pt] O objetivo deste trabalho é refletir sobre como se dá a atualização do racismo à brasileira (Gonzalez, 1984, Munanga, 2010) pelo dispositivo de poder da branquitude (Bento, 2002, 2022, Carneiro, 2005, Schucman, 2012, Schucman; Cardoso et al., 2014, Muller; Cardoso et al., 2017, Conceição, 2020) em performances discursivas de mulheres brancas da classe média crítica (Souza, 2017). Para tal, esta tese segue metodologia qualitativa-interpretativa da Análise de Narrativas (Bastos; Biar, 2015) visando observar as performances raciais e afetivas brancas (Ahmed, 2004, Melo, 2019, 2021) das participantes, nas pequenas histórias (Georgakopoulou, 2015) compartilhadas por elas em conversas exploratórias (Miller, 2003), nas quais refletimos crítico-afetivamente sobre o que significa ser branca no Brasil e onde mora o privilégio branco em suas trajetórias de vida. Em minha escrita, ventilo questões relativas ao fazer acadêmico no contexto da Linguística Aplicada INdisciplinar (Moita Lopes et al., 2006, 2013) e ao sentir crítico (Borges, 2017a, 2017b, 2020, 2021), conceito que trabalho desde a minha dissertação, que se refere ao devir de sensibilidade que nutre e é nutrido nos processos de letramento crítico, cujo foco é a reflexividade crítico-afetiva (foco no afeto), de forma amalgamada ao pensamento crítico (foco cognitivo) e à ação crítica (foco político). As notas reflexivas desta pesquisa trazem a inexorabilidade do dispositivo de poder da branquitude na atualização do racismo em performances raciais e afetivas de mulheres do grupo racial branco, apontando para seu papel fundamental nesse processo, mesmo no contexto da academia dita crítica. Ciente disso, trago reflexões sobre a importância do letramento racial crítico (Ferreira, 2022), do sentir crítico (Borges, 2017a, 2017b, 2020, 2021), do estudo e da coalizão nos abaixo-comuns da Universidade (Harney; Moten, 2013, 2021), a fim de mitigar os efeitos dessas performances na Academia Cubo-Branco (Kilomba, 2019a). / [en] The aim of this paper is to reflect upon how Brazilian racism (Gonzalez, 1984, Munanga, 2010) is actualized by whiteness (Bento, 2002, 2022, Carneiro, 2005, Schucman, 2012, Schucman; Cardoso et al., 2014, Muller; Cardoso et al., 2017, Conceição, 2020) as an apparatus of power (Foucault, 1978) in discursive performances by white women who belong to what Jessé Souza (2017) classifies as critical middle-class in Brazil (Souza, 2017). To this end, this thesis follows qualitative-interpretative methodology from Narrative Analysis (Bastos; Biar, 2015) to investigate how whiteness shapes participants white racial and affective performances (Ahmed, 2004, Melo, 2019, 2021) in the small stories (Georgakopoulou, 2015) shared by them in exploratory conversations (Miller, 2003), in which we reflect critically-affectively on what it means to be white in Brazil and where white privilege resides in their life stories of accomplishment. In my writing, I vent issues concerning the critical academic doing in the context of INdisciplinary Applied Linguistics (Moita Lopes et al, 2006, 2013) and critical feeling (Borges, 2017a, 2017b, 2020, 2021), a concept I have been working on since my dissertation, which refers to the becoming of sensibility that nurtures and is nurtured in critical literacy processes, whose focus is critical-affective reflexivity (focus on affect), which merges with critical thinking (focus on cognitive aspects) and critical action (focus on political aspects). The reflexive notes of this research confirm the inexorability of whiteness as an apparatus of power which allows the actualization of racism in performances of race and affect by women who belong the white racial group in Brazil, pointing to their fundamental role in this process, even in the context of the so-called critical academia. Furthermore, it indicates that focus on undergoing processes of critical racial literacy (Ferreira, 2022), fostering critical feeling (Borges, 2017a, 2017b, 2020, 2021) and joining study with coalition in the under-commons of the University (Harney; Moten, 2013, 2021) may be a way to mitigate the effects of these performances in the White-Cube Academy (Kilomba, 2019a).