Esta tese tem como objetivos identificar e analisar princípios pedagógicos dos processos de trans-formação do ator que os grupos Abya Yala (Costa Rica), Yuyachkani (Peru) e Ói Nóis Aqui Traveiz (Brasil) desenvolveram ao longo de sua história e problematizar como eles poderiam ser de grande valia na formação atoral em diversas instâncias. Partiu-se principalmente de entrevistas e visitas realizadas aos grupos, assim como do estudo de material escrito e audiovisual referente ao tema. O teatro é uma construção cultural que muda de acordo com a época, o local e contexto em que se desenvolve. Do mesmo modo a formação atoral responde a essas variáveis. Atrelada às práticas cênicas dos grupos se constrói uma pedagogia para a trans-formação. Foram identificados alguns pontos em comum entre eles como o engajamento tanto no que diz respeito à vida política do país como o que se refere ao treinamento do ator. Há também nos três a busca pela autonomia do ator como criador, responsável por suas escolhas e pelo seu papel dentro do grupo. Existe neles ainda a ênfase em compartilhar sua experiência, incentiva-se os atores a serem facilitadores de processos fora ou dentro do coletivo. Esta pesquisa trouxe à tona a importância de manter contato com o fazer teatral latino-americano, revelando uma riqueza na diversidade de propostas trans-formativas e de como elas extrapolam o ambiente do grupo, podendo ser tomadas como exemplo para outros processos de formação atoral. / This thesis aims to identify and analyze the pedagogical principles of the processes of trans-formation of the actor that Abya Yala (Costa Rica), Yuyachkani (Peru) and Ói Nóis Aqui Traveiz (Brazil) developed throughout its history and discuss how they could be of great value in the formation of actors in several instances. This thesis is based mainly on interviews and visits to the groups, as well as the study of written and audio-visual material on the topic. Drama is a cultural construction that changes according to time, place and context in which it develops. Similarly the formation of actors answers to those same variables. Coupled to the group´s practices on scene it is build a pedagogy for trans-formation. We identified some common ground between them as they engage both politically, with the country´s situation, and regarding the training of the actors. All three groups demonstrate a quest for the actors independence as creators, responsible for their choices and their role within the group. They also reveal their emphasis on sharing their experience, as they encourage the actors to be facilitators of processes both inside and outside of the collective. This research has brought to light the importance of maintaining contact with the Latin American way of doing theatre, revealing a wealth of diversity of the proposed trans-formative processes that go beyond the group environment, and how they can be taken as an example to other actor-forming processes.

Na teoria musical, a polifonia remete a um estilo, criado na Idade Média em oposição ao canto monódico da Igreja, no qual as vozes se distinguem rítmica e melodicamente, permitindo que melodias diversas convivam no mesmo campo musical. Mikhail Bakhtin (1895-1975), resgatando o sentido musical do termo e baseando-se nele, cria uma metáfora conceitual da polifonia para definir um gênero discursivo que demonstra a coexistência de vozes plenivalentes na obra literária, inclusive entre a instância do autor-criador e a da personagem. O filósofo russo investiga esse fenômeno na estética de Fiódor Dostoiévski (1821-1881), reconhecendo esse autor como o criador do romance polifônico. Desde a difusão das ideias de Bakhtin (2010a), o conceito de polifonia foi mal compreendido e mal interpretado. Diante disso, o objetivo geral desta pesquisa é o de operacionalizar o conceito bakhtiniano de polifonia por meio de um viés discursivo específico: o da semiótica francesa (GREIMAS; COURTÉS, 2008). Por operacionalização, entendemos o processo científico de tornar coerente um conceito dentro de determinadas premissas teóricas e de acordo com as unidades de análise. Nossas fontes são três diálogos entre dois personagens diferentes contidos em três romances dostoievskianos: três encontros de Raskólnikov e Porfiri, em Crime e castigo; três de Ivan e Smierdiakóv, em Os irmãos Karamázov; e três de Aleksiéi e Polina, em Um jogador. Para investigar esse corpus, problematizamos a polifonia na arquitetônica do ator, seja o da enunciação (na teoria bakhtiniana, o autor-criador), seja o do enunciado (na concepção bakhtiniana, herói polifônico). Por isso, não buscamos as bases ontológicas do gênero romance polifônico, nem propomos um molde ou uma tipologia discursiva que sustente esse gênero. Tratamos a polifonia como uma estratégia discursiva do enunciador Dostoiévski. Buscamos, no corpus de Crime e castigo, os recursos que sustentam essa estratégia e validamos três procedimentos: a imiscibilidade, a interindependência e a equipolência de vozes. Em Os irmãos Karamázov, confirmamos esses procedimentos pela recorrência. Em Um jogador, constatamos, pela não recorrência dos procedimentos, a singularidade que os caracteriza na estética romanesca do escritor russo. Conseguimos, pela recorrência e pela diferença, examinar o estilo autoral de Dostoiévski, segundo uma estilística discursiva (DISCINI, 2009a; 2013). Conforme a proposta de Zilberberg (2004; 2011), investigamos os modos de eficiência, de junção e de existência de duas totalidades bem distintas: totalidade A (Crime e castigo; Os irmãos Karamázov) e totalidade B (Um jogador). Com esses dados, depreendemos que os romances de Dostoiévski podem ter ora traços mais polifônicos (totalidade A), ora traços menos polifônicos (totalidade B). Assim, respaldamos a gradação do conceito de polifonia na estética romanesca, em específico na totalidade Dostoiévski, operacionalizando a polifonia como uma categoria apreensível, repetível e de grandeza escalar. / In music theory, the term polyphony designates a style, created during the Middle Ages in opposition to the Churchs monodic chanting; in polyphony, voices can be distinguished rhythmically and melodically, allowing different melodies cohabitatingthe same musical field. Mikhail Bakhtin (1895-1975), drawing out from the musical sense of the term and based on it, creates a conceptual metaphor of polyphony to define a discourse genre that shows the coexistence of plenivalent voices in the literary work, even the author-creator and the character instances. The Russian philosopher investigates this phenomenon in the novel aesthetics of Fyodor Dostoyevsky (1821-1881), recognizing this author as the creator of the polyphonic novel. Since the spreading of the ideas of Bakhtin (2010a), the concept of polyphony has been misunderstood and misinterpreted. With that been said, this researchs main goal is to make the bakhtinian concept operational by using a specific discursive point of view: French Semiotics (GREIMAS; COURTÉS, 2008). By making the concept operational we mean the scientific process of establishing the conditions that allow a concept to become coherent inside a theoretical framework and in relation to the unities of analysis. Our sources are three dialogues between two characters in three novels by Dostoyevsky (three in each, making a total of nine dialogues): Raskólnikov and Porfiri, in Crime and punishment; Ivan and Smierdiakóv, in The brothers Karamazov; and, finally, Aleksiéi and Polina, in The gambler. In order to investigate this corpus, we have reflected upon polyphony in the actors architectonic, be it the enunciations actor (in bakhtinian theory, the author-creator), or the enunciates actor (in bakhtinian conception, the polyphonic hero). Therefore, this research is not focused on the ontologic bases of the polyphonic novel genre, neither does it propose a mold or a discursive typology that supports this genre. We consider polyphony as a discursive strategy from the enunciator Dostoyevsky. We search, in the corpus extracted from Crime and punishment, the resources that support this strategy and we validate three procedures: immiscibility, interindependence and equipollence of voices. In The brothers Karamazov, these procedures were confirmed by recurrence. In The gambler, the fact that the recurrence does not occur is evidence of their singularity in the novel aesthetics of the Russian writer. Both the recurrence and the difference have made us able to examine Dostoyevskys author style in the terms of a discursive stylistic (DISCINI, 2009a; 2013). In conformity with the ideas of Zilberberg (2004; 2011), we have investigated the modes of efficiency, junction and existence of two very different totalities: totality A (Crime and punishment; The brothers Karamazov) and totality B (The gambler). With these data we were able to conclude that Dostoyevskys novels may present sometimes more polyphonic traits (totality A), sometimes less polyphonic traits (totality B). We thus support the idea of the polyphony concept in the novel aesthetics as something gradual, in particular in the Dostoyevsky totality, making polyphony operational as an apprehensible, repeatable and scalar category.

The education of looked-after children (LAC) in the care of the Local Authority (LA) is supported by government initiatives to reduce the attainment gap that exists between LAC and their peers. Long-term outcomes for LAC pupils are poor (Sebba et al. 2015). The Virtual School (VS) has a statutory role in the education of LAC (DfE, 2014a) and aims to encourage stringent monitoring and intervention for LAC pupils, for example via a personalised education plan (PEP) outlining attainment, strategies intended to accelerate progress, and resources needed for doing so. The PEP process involves termly meetings between pupil, Social Worker and school's designated teacher. The current study uses Actor-Network Theory (ANT) (Latour, 1999) as a lens through which to conceptualise change for LAC pupils during the PEP process. Data was collected from three PEP meetings and accompanying documentation in one LA setting, using ethnomethodology, in order to explore the human and non-human actors in the PEP network which are active in creating change for LAC. The analysis made visible the strong role of the PEP document in providing structure for the meeting, along with the instrumental role of the designated teacher and their knowledge of the pupil embodied in non-human entities such as resources, timetabling and grades. The Social Worker influence on the network was less visible. ANT is explored as a material semiotic tool for analysis through a conceptual review of current literature within educational research, with a focus on the construction of research questions. The review demonstrates that ANT can attempt to answer questions about 'how' things came to be and 'who' and 'what' they are composed of. The current research also incorporates an appraisal of evidence-based practice, and a consideration of the implications and dissemination of the findings of the study at LA level and beyond.

'The Company' had introduced 'Being Responsible' a program for the embedding of responsibility-sustainability. Corporate responsibility-sustainability here describes efforts to address entangled cares of responsibility and sustainability. The program showed potential to change the business model, which led to the research problem: 'How can responsibility-sustainability programs change business models?'In this thesis, business models are understood as three dynamically interlinked states: Logics, devices and actor networks. Business model change may happen through the embedding of responsibility-sustainability into any of these states, and through the dynamics between them. Main conceptual lenses are organizational institutionalism and actor-network theory, which are connected through a social constructionist philosophy. Qualitative methods used include an in-depth case study of The Company (104 interviews with 72 interviewees) and thematic analyses of business model descriptions (devices) of FTSE corporations (100 documents).Seven papers study distinct aspects of the research problem: Papers 1 and 2 provide a conceptual basis. Papers 3 and 4 study how the embedding of responsibility-sustainability into the FTSE100s' business model devices changed the logics they described. Papers 5-7 study embedding into The Company's business model actor network. I found how embedding of responsibility-sustainability into the three states of commercial business models happened through three processes: Blending of logics, combination of device elements and translation between actors. Such embedding of responsibility-sustainability led to misalignment and tensions between responsibility-sustainability and the dominant commercial logic. This misalignment in turn fueled the dynamics of change between logics, devices and actor networks. First, this thesis contributes to an emerging literature on the dynamics of business model logics, devices and actor networks. It makes explicit the distinction between these states and illustrates how their dynamics provide novel insight into business model change. Secondly, I showcase how actor-network theory may complement the activity systems study of business models as well as stakeholder thinking in responsibility-sustainability research. Insights into how to use devices to change business models and to embed responsibility-sustainability appear relevant for practitioners.

This thesis aims to assess the usefulness of actor-network theory (Latour, 2005) in understanding the process of implementing mobile phone-based innovations within the broader government-led public sector in less developed countries. An examination of the literature on implementations of innovations involving mobile-phones suggests that previous studies have either focused on the social elements or the physical elements in isolation and have failed to consider how one influences the other. It is proposed that actor-network theory may be able to provide an alternative ontological perspective that bridges this social physical divide and allows the influence of the relationships between the human and the non-human elements to be taken into consideration. In order to assess this, the thesis utilises a single case study from its inception, through development, to its eventual end. The case in question, is the implementation of a mobile phone- based information system known as MADEX. This effort, is a nation-wide project made by the federal government of Nigeria to deploy this innovation within the government-led public health sector. MADEX was designed to support a nation-wide scheme known as the Midwives Service Scheme (MSS); a public sector initiative that was set up to address the United Nations Millennium Development Goals (MDG) relating to mother and child health. The main objective of MADEX in its initial stages was to enable the routine reporting of maternal health information from primary health facilities across the country up to the national level (NPHCDA) where this information is required by public health administrators for action - that is regular and timely monitoring of key maternal and child health indicators as well as strategic planning and the setting of priorities. The expectation was that, MADEX will bring about increased information accessibility for monitoring and planning, ensure global transparency and accountability in the area of maternal and child health statistics and promote m-health activities. An interpretive approach using qualitative methods was adopted in this research to obtain and analyse the data acquired through interviews. These interview, were conducted with a total of about 75 participant from across the various levels of the public health system. Whilst initially these events are narrated using a traditional chronological format, the use of such a format hides the complex nature of the relationships that enable the case under study. Actor-network theory therefore provides a means of exposing some of this complexity and as a result can be regarded as a useful methodology for understanding mobile phone innovations deployed in the public sector of LDCs. In addition, the thesis shows that the actor-network perspective allows the process of implementing mobile-phone innovations, to be considered in a manner that demonstrates the complex interdependent relationships between the physical and the social dimensions as well as the impact of non-humans in shaping this process.

O presente estudo se destina a pensar como o cuidado é performado nas práticas realizadas numa escola que segue a proposta da Pedadogia Waldorf, partindo da orientação teórico-metodológica da Teoria Ator-rede (TAR). A proposta é repensar esse espaço através das relações de cuidado que são estabelecidas nas práticas, especialmente através do vínculo que se dá na ação professor / aluno. Percebe-se que os alunos são aqueles os quais se deve conduzir e os professores, aqueles que devem conduzi-los, muitas vezes sem saber ao certo a utilidade do estão ensinando. Mol (2006) propõe que o cuidado tem uma Lógica própria, intitulada por ela como Lógica do Cuidado. Esta se contrapõe à Lógica da Escolha, a qual retrata o cuidado sendo estabelecido por um especialista que indica o que deve ou não ser feito, cabendo a quem é cuidado, seguir as orientações do cuidador. No entanto, uma prática que segue a Lógica do Cuidado, parte da ideia de que, aquele que é cuidado, é tão ator quanto aquele que cuida, uma vez que aquele não é passivo em relação ao próprio cuidado ou as condições em que este se dá. Amplia-se assim a rede do cuidar, sendo considerados todos os atores que a performam, compreendendo o processo de ensino-aprendizagem enquanto um conjunto de afetações, integrando a afetividade e a cognição. O trabalho foi desenvolvido acompanhando uma escola Waldorf, para observação da rotina e de atividades onde são performadas práticas de cuidado, especialmente aquelas que seguem a Lógica do Cuidado, o que nos viabiliza pensar outro devir escola. O campo estudado contribuiu para desconstruir a forma tradicionalmente performada de cuidado, viabilizando pensar a escola enquanto um espaço que amplie as possibilidades de cuidar. / The present study was designed to consider how care is performed in practice conducted in a school that follows the proposal of Pedadogia Waldorf, based on the theoretical and methodological orientation of Actor-Network Theory (ART). The proposal is to rethink this space through care relationships that are established in practices, especially through the link that takes action on teacher / student. It is noticed that the students are the ones who should lead and teachers, who should lead them, often unsure of the utility they are teaching. Mol (2006) proposes that care has a logic of its own, as she headed for Logic of Care. This opposes the Logic of Choice, which portrays the care being provided by a specialist that indicates what should or should not be done, being who is careful to follow the guidelines of the caregiver. However, a practice that follows the logic of Care, part of the idea that one who is so careful is actor as one who cares, since he is not passive about their own care or the conditions under which this occurs. Thus expands network of caring, all of the actors being considered that perform this network, comprising the teaching-learning as a set of affectations, integrating affectivity and cognition. The study was conducted following a Waldorf school for observation and routine activities which are performed care practices, especially those who follow the logic of Care, which enables us to think becoming another school. The field study helped to deconstruct the form traditionally care performed, enabling think the school as a space that expands the possibilities of caring.

Orientador: Martha Herr / Banca: Mirna Rubin / Banca: Káthya Ayres de Godoy / Resumo: Tendo em vista a exigência do cantor de ópera atual possuir não somente uma excelente técnica vocal e musical, mas também uma competente desenvoltura cênica, e, levando em consideração que estas habilidades cênicas são desenvolvidas pelo cantor na maioria das vezes de forma autodidata, este trabalho tem como objetivo pesquisar conhecimentos que possam auxiliar no desenvolvimento destas habilidades por jovens cantores que careçam de orientação nesta área ao ingressarem no mercado de trabalho. Esta pesquisa baseia-se principalmente em teóricos que já abordaram a questão específica da atuação cênica do cantor de ópera. / Abstract: Considering the demands presently made upon the opera singer to have not only an excellent vocal and musical technique, but also a competent capacity scenically, and taking into account that these scenic abilities are usually self-taught, the objective here is to research theoretical tools that will aid the young singer entering the job market and who lacks orientation in this area to develop these abilities. Research is based on works that approach the specific subject of the opera singer' scenic performance. / Mestre

Este trabalho busca construir um pensamento contemporâneo sobre voz a partir da investigação do trabalho do ator com a voz e com a palavra na Cia. Club Noir, companhia teatral fundada em 2006 e com sede na cidade de São Paulo (SP). O texto retoma alguns movimentos e ideias que ao longo do século XX fomentaram uma nova concepção de voz, som e silêncio. A partir das relações entre corpo, voz, leitura textual e emissão no trabalho do ator, constrói um pensamento que dialoga com a música e a poesia experimental. A prática da Cia. Club Noir, focada na exploração da palavra e experimentação da linguagem, constitui um rico material para a construção de um pensamento sobre voz nos processos contemporâneos de criação. Este trabalho compreende palavra como som e sentido simultaneamente e mais do que analisar o trabalho da companhia teatral em questão, pretende levantar novas perspectivas para o entendimento da voz. / This paper aims at constructing a contemporary thought on voice, having as its basis the investigation of voice and word use of actors of the Cia. Club Noir, a theater company from São Paulo (SP) founded in 2006. The text looks back at some movements and ideas that have been influential in the creation of new concepts of voice, sound and silence, and, taking into account the relations between body, voice, text reading, and emission, builds up a thought that establishes a dialogue with music and experimental poetry. The praxis of the Cia. Club Noir, which has as its focus on the study of word and language experiments, consists of a rich material for the construction of a thought on the use of voice in the contemporary creation processes. This work considers words to be the combination of sound and sense and intends not only to analyze the work of the theater company, but also to raise new perspectives for the understanding of voice.

Na teoria musical, a polifonia remete a um estilo, criado na Idade Média em oposição ao canto monódico da Igreja, no qual as vozes se distinguem rítmica e melodicamente, permitindo que melodias diversas convivam no mesmo campo musical. Mikhail Bakhtin (1895-1975), resgatando o sentido musical do termo e baseando-se nele, cria uma metáfora conceitual da polifonia para definir um gênero discursivo que demonstra a coexistência de vozes plenivalentes na obra literária, inclusive entre a instância do autor-criador e a da personagem. O filósofo russo investiga esse fenômeno na estética de Fiódor Dostoiévski (1821-1881), reconhecendo esse autor como o criador do romance polifônico. Desde a difusão das ideias de Bakhtin (2010a), o conceito de polifonia foi mal compreendido e mal interpretado. Diante disso, o objetivo geral desta pesquisa é o de operacionalizar o conceito bakhtiniano de polifonia por meio de um viés discursivo específico: o da semiótica francesa (GREIMAS; COURTÉS, 2008). Por operacionalização, entendemos o processo científico de tornar coerente um conceito dentro de determinadas premissas teóricas e de acordo com as unidades de análise. Nossas fontes são três diálogos entre dois personagens diferentes contidos em três romances dostoievskianos: três encontros de Raskólnikov e Porfiri, em Crime e castigo; três de Ivan e Smierdiakóv, em Os irmãos Karamázov; e três de Aleksiéi e Polina, em Um jogador. Para investigar esse corpus, problematizamos a polifonia na arquitetônica do ator, seja o da enunciação (na teoria bakhtiniana, o autor-criador), seja o do enunciado (na concepção bakhtiniana, herói polifônico). Por isso, não buscamos as bases ontológicas do gênero romance polifônico, nem propomos um molde ou uma tipologia discursiva que sustente esse gênero. Tratamos a polifonia como uma estratégia discursiva do enunciador Dostoiévski. Buscamos, no corpus de Crime e castigo, os recursos que sustentam essa estratégia e validamos três procedimentos: a imiscibilidade, a interindependência e a equipolência de vozes. Em Os irmãos Karamázov, confirmamos esses procedimentos pela recorrência. Em Um jogador, constatamos, pela não recorrência dos procedimentos, a singularidade que os caracteriza na estética romanesca do escritor russo. Conseguimos, pela recorrência e pela diferença, examinar o estilo autoral de Dostoiévski, segundo uma estilística discursiva (DISCINI, 2009a; 2013). Conforme a proposta de Zilberberg (2004; 2011), investigamos os modos de eficiência, de junção e de existência de duas totalidades bem distintas: totalidade A (Crime e castigo; Os irmãos Karamázov) e totalidade B (Um jogador). Com esses dados, depreendemos que os romances de Dostoiévski podem ter ora traços mais polifônicos (totalidade A), ora traços menos polifônicos (totalidade B). Assim, respaldamos a gradação do conceito de polifonia na estética romanesca, em específico na totalidade Dostoiévski, operacionalizando a polifonia como uma categoria apreensível, repetível e de grandeza escalar. / In music theory, the term polyphony designates a style, created during the Middle Ages in opposition to the Churchs monodic chanting; in polyphony, voices can be distinguished rhythmically and melodically, allowing different melodies cohabitatingthe same musical field. Mikhail Bakhtin (1895-1975), drawing out from the musical sense of the term and based on it, creates a conceptual metaphor of polyphony to define a discourse genre that shows the coexistence of plenivalent voices in the literary work, even the author-creator and the character instances. The Russian philosopher investigates this phenomenon in the novel aesthetics of Fyodor Dostoyevsky (1821-1881), recognizing this author as the creator of the polyphonic novel. Since the spreading of the ideas of Bakhtin (2010a), the concept of polyphony has been misunderstood and misinterpreted. With that been said, this researchs main goal is to make the bakhtinian concept operational by using a specific discursive point of view: French Semiotics (GREIMAS; COURTÉS, 2008). By making the concept operational we mean the scientific process of establishing the conditions that allow a concept to become coherent inside a theoretical framework and in relation to the unities of analysis. Our sources are three dialogues between two characters in three novels by Dostoyevsky (three in each, making a total of nine dialogues): Raskólnikov and Porfiri, in Crime and punishment; Ivan and Smierdiakóv, in The brothers Karamazov; and, finally, Aleksiéi and Polina, in The gambler. In order to investigate this corpus, we have reflected upon polyphony in the actors architectonic, be it the enunciations actor (in bakhtinian theory, the author-creator), or the enunciates actor (in bakhtinian conception, the polyphonic hero). Therefore, this research is not focused on the ontologic bases of the polyphonic novel genre, neither does it propose a mold or a discursive typology that supports this genre. We consider polyphony as a discursive strategy from the enunciator Dostoyevsky. We search, in the corpus extracted from Crime and punishment, the resources that support this strategy and we validate three procedures: immiscibility, interindependence and equipollence of voices. In The brothers Karamazov, these procedures were confirmed by recurrence. In The gambler, the fact that the recurrence does not occur is evidence of their singularity in the novel aesthetics of the Russian writer. Both the recurrence and the difference have made us able to examine Dostoyevskys author style in the terms of a discursive stylistic (DISCINI, 2009a; 2013). In conformity with the ideas of Zilberberg (2004; 2011), we have investigated the modes of efficiency, junction and existence of two very different totalities: totality A (Crime and punishment; The brothers Karamazov) and totality B (The gambler). With these data we were able to conclude that Dostoyevskys novels may present sometimes more polyphonic traits (totality A), sometimes less polyphonic traits (totality B). We thus support the idea of the polyphony concept in the novel aesthetics as something gradual, in particular in the Dostoyevsky totality, making polyphony operational as an apprehensible, repeatable and scalar category.

A revista EXAME, apesar de constituída por diversos gêneros, concretiza uma formação discursiva única e, como mídia impressa de temática que diz respeito à esfera de negócios, economia e administração, representa um suporte material do discurso jornalístico e é ponto de partida do olhar analítico. Considerando que no texto e no discurso sempre há indícios do ator da enunciação, tomam-se para análise, para depreender o perfil do sujeito enunciador da Revista, textos veiculados nesse meio de comunicação, dados como unidades integrais. Cada um desses textos materializa um gênero e, ao fazê-lo, viabiliza mecanismos que engendram efeitos de sentido que delineiam o modo de presença, o éthos e o estilo do enunciador da totalidade integral: a revista EXAME, éthos este que é a meta analítica ora estabelecida. Por meio do agrupamento dos textos que materializam o mesmo gênero textual e considerados os temas e as figuras recorrentes, procede-se à abstração das invariantes. Os textos constituintes da revista são, portanto, observados na medida em que criam o sentido numa relação de interdependência e de complementaridade com a totalidade integral e legitimam o discurso da revista EXAME. Por meio da constatação de certa homogeneidade discursiva, fundada na heterogeneidade constitutiva, emerge o sujeito, como efeito de identidade. Por conseguinte, será observado como e por quê o enunciador da revista EXAME, sujeito sempre pressuposto ao enunciado, produz o texto para o enunciatário (co-enunciador) e este, por sua vez, como imagem reflexiva daquele, torna-se igualmente construtor do discurso. Enunciador e co-enunciador, ambos sujeitos semióticos participantes do ato comunicativo, são \"incorporados\" na medida em que se instituem por meio de um corpo com voz e tom de voz próprios / EXAME magazine, although formed by distinct genres, materializes a unique discursive formation. As a printed medium engaged in the sphere of business, economy and administration, it represents a material support for the journalistic discourse and is the starting point of the analytical study. By considering that traces of the actor of enunciation are left in the text and in the discourse, EXAME\'s constituent texts, considered as integral units, are dismembered for examination so that the enunciator\'s presence manner can be observed in the totality text: EXAME magazine. Each of these texts materializes a textual genre with particular mechanisms engendering meaning effects to reveal the éthos and style, that is the final projected-image of the EXAME\'s enunciator: main purpose of this work. By means of grouping texts that materialize the same genre and taking into consideration the recurrences of themes and figures are the invariant abstractions captured. The constituent texts are then examined through their inherent peculiarities that engender meaning effects in interdependent and complementary ways that converge to EXAME\'s discursive voice. By means of certain discursive homogeneity founded on the constitutive heterogeneity the enunciator, as an effect of identity, emerges from the discourse. In this way, it is observed how and why the EXAME\'s enunciator, an instance always presupposed in the utterance, produces the text for the enunciatee (co- enunciator). The latter, as a reflexive image of the former, similarly becomes the producer of the discourse. Enunciator and co-enunciator, both semiotic subjects sharing the communicative act, are then \"incorporated\", since they are constituted in a corporeality in which prevails not only their own voice but also a unique tonality voice