Made available in DSpace on 2015-03-05T18:12:39Z (GMT). No. of bitstreams: 0 Previous issue date: 5 / Nenhuma / Este estudo busca verificar como se dá o processo da autoria nas produções textuais escolares em ambientes digitais, com o uso da internet. Sua motivação partiu do desejo de compreender a fala corrente entre os professores, trazidos nesta pesquisa, quando afirmam que o aluno, ao utilizar o texto da internet (o hipertexto) em atividades escolares, usando o procedimento do copia e cola não está sendo autor. Esse novo ambiente de produção textual no meio digital suscita implicações sobre a concepção de autoria nos textos digitais e sobre práticas escolares em contextos digitais, em que as marcas de um autor individual desaparecem em favor de um autor coletivo constituído pelo hipertexto. De forma particular, interessa vincular três termos – autoria (FOUCAULT, 1996, 1999, 2006), reprodutibilidade técnica (WALTER BENJAMIN, 1994) e produção textual. A pesquisa parte de um trabalho proposto a um grupo de cinco alunos das séries finais do Ensino Fundamental e Médio, a partir da escolha de temas livres para serem sign / This study aims to determine how is the process of authorship on school textual in digital environments, using the Internet. Its motivation came from the desire to understand the everyday speech of the teachers brought on this research to assert that the student, when using the Internet text (hypertext) in school activities, taking the copy and paste procedure is not being an author. This new environment of textual production in the digital environment raises implications for the concept of authorship in digital texts and on school practices in digital environments, in which the characteristcs of an individual author disappear in favor of a collective author constituent of an hypertext. In a particular way, it is interesting to link three terms - author (FOUCAULT, 1996, 1999, 2006), technical reproduction (WALTER BENJAMIN, 1994) and textual production. The research starts from a proposed work to a group of five students on the final series of the Elementary and High School, based on the choice of free topics

Semblable à un véritable musée portable, cette ‘boîte en valise’ découpe des figurines, morcelle les lectures, arrache des pages entières d’une histoire de l’art racontée dans les livres. Si l’objet de l’histoire de l’art est établi une fois pour toutes, nous cherchons à arrêter ce mouvement perpétuel qui auratise l’œuvre d’art puis son discours. Nous lisons des livres d’histoire de l’art en guise de parcours dans de vastes galeries anachroniques, arrachés de tout emplacement physique et repliés dans des pages de livres. Nous sommes des historiens d’art qui travaillent avec des images de reproduction technique, des clichés photographiques qui ont perdu leurs couleurs, qui ont délaissé sur la légende le poids de la taille et le lieu d’emplacement. À plusieurs égards, l’œuvre d’art reste en suspens : inlassablement auratisée par le récit, elle demeure éloignée. C’est dans le double éloignement de l’œuvre d’art que nous déployons notre objectif de travail : il s’agit d’une part d’ouvrir et de déceler les stratégies du récit historiographique lors du tissage discursif où l’art latino-américain est inscrit. D’autre part, il est question d’exposer l’échafaudage du récit où les images de reproduction technique, très loin d’illustrer ou de démontrer l’explication, désamorcent la continuité du récit. Alors, si le papier supporte l’étude historique, c’est sur la même surface où les images de reproduction des œuvres d’art démontent l’explication pour montrer, pour exposer, la cassure dans le discours historique. L’effet de charriage qui emporte l’explication en tant que guide de toute démonstration se défait avec l’utilisation des images de reproduction. Autrement dit, les images de reproduction ouvrent les pages de livres vers d’autres directions ; elles montrent, démontrent et démontent toute explication du récit historiographique. / As a real “portable museum” this “box in a valise” cuts images, bites readings and rips the pages of Art history books. If the subject of Art history is finally established, we want to stop this perpetual movement that auratizes the work of art and its discourse. We read Art history books as if we were in a race throughout large anachronic galleries ripped from any physical location and placed in book pages. It is we, art historians who work with images reproduced by means of technology, photographic clichés that have lost their colour and have left to the legend the weight of size and place. In many ways the work of art rests in suspense, tireslessly auratized by the narrative it remains absent. It is in this double absence that we display the object of our work, on the one hand we attempt to open and identify the strategies of the historiographical narrative and then the discursive tissue where Latin American art is inscribed. On the other hand we will attempt to expose the historical framework where the images technically reproduced are far from illustrate or explain and instead break the continuity of the narrative. So, if the paper supports the historical study it is on this same ground where the images reproducing works of art dismantle the explanation to show and to expose the fracture of the historical discourse. The effect of thrust that carries an explanation as a guide for any demonstration is defeated with the use of images of reproduction. In other words, the images of reproduction open the pages of books towards other directions; they show, demonstrate and dismantle any explanation of the historiographical narrative.

No description available.