<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-7770</journal-id>
<journal-title><![CDATA[New Trends in Qualitative Research]]></journal-title>
<abbrev-journal-title><![CDATA[NTQR]]></abbrev-journal-title>
<issn>2184-7770</issn>
<publisher>
<publisher-name><![CDATA[Ludomedia]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-77702021000200313</article-id>
<article-id pub-id-type="doi">10.36367/ntqr.7.2021.313-320</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Uma proposta metodológica sobre o discurso fotográfico no âmbito da pesquisa acadêmica]]></article-title>
<article-title xml:lang="en"><![CDATA[A Methodological Proposal on Photographic Discourse in the Academic Research Context]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Côco]]></surname>
<given-names><![CDATA[Dilza]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Macêdo]]></surname>
<given-names><![CDATA[Érika Sabino de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Leite]]></surname>
<given-names><![CDATA[Priscila de Souza Chisté]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Fonte]]></surname>
<given-names><![CDATA[Sandra Soares Della]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Instituto Federal do Espírito Santo  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Federal do Espírito Santo  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>10</day>
<month>06</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>10</day>
<month>06</month>
<year>2021</year>
</pub-date>
<volume>7</volume>
<fpage>313</fpage>
<lpage>320</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-77702021000200313&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-77702021000200313&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-77702021000200313&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo: As pesquisas no âmbito do Mestrado Profissional em Ensino de Humanidades, realizadas pelo Grupo de Estudos e Pesquisas sobre Educação na Cidade e Humanidades, têm apresentado dificuldades em utilizar a imagem fotográfica de modo contextualizado e estético. Para atenuar esse problema, foi planejada e executada ação de formação, sob a forma de minicurso, com o tema &#8220;A fotografia na pesquisa acadêmica&#8221;. A partir dessa experiência, este artigo tem como objetivo apresentar metodologia desenvolvida na referida formação a qual foi executada de modo virtual. Os 12 participantes eram alunos e egressos do Mestrado Profissional em Ensino de Humanidades, bem como licenciandos em Pedagogia do Instituto Federal do Espírito Santo. O referencial teórico-metodológico adotado no curso inspira-se no filósofo da linguagem Mikhail Bakhtin. Na sequência, exibe percurso formativo do curso, evidenciando os cinco encontros e, a seguir, discorre sobre as análises das produções escritas dos participantes. Conclui que o curso contribuiu para a mudança de pensamento sobre a utilização da fotografia na pesquisa acadêmica, tendo em vista que os participantes incorporaram as discussões realizadas nos textos escritos que criaram. A partir dessa experiência, é possível pensar que tal iniciativa pode ser compartilhada em outros contextos desde que a fotografia seja reconhecida como discurso que possui carácter histórico, ideológico, estético e dialógico, ou seja, considerando seus aspectos plásticos (cor, composição, textura e contraste), o contexto em que foi produzida, a formação social do fotógrafo, a comunicação entre as imagens fotográficas e outros textos visuais/verbais; e a recepção por parte dos leitores que podem atribuir ao discurso fotográfico diferentes sentidos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: The research carried out in the Professional Master in Humanities Teaching by the Group of Studies and Research on Education in the City and Humanities have presented difficulties in using the photographic image in a contextualized and aesthetic way. To decrease this problem, a training course was planned and conducted as a short course, with the theme &#8220;Photography in academic research&#8221;. Based on this experience, this article aims to present the methodology developed in that short course. This minicourse was executed in a virtual way and had twelve participants, among them students and graduates of the Professional Master in Humanities Teaching, as well as undergraduates in Pedagogy of Instituto Federal do Espírito Santo. The theoretical-methodological framework adopted in the course was inspired by the philosopher of language Mikhail Bakhtin. This text shows the formative course of the course, highlighting each of the five meetings and then discusses the analysis of the written productions of the participants. It concludes that the course contributed to the change in thinking about the use of photography in academic research, considering that the participants incorporated the discussions held in the course into the written texts they created. Based on this experience, it is possible to think that such an initiative can be shared in other contexts as long as the photograph is recognized as a discourse that has a historical, ideological, aesthetic and dialogical character, that is, considering its plastic aspects (color, composition, etc.), the context in which it was produced, the social formation of the photographer, the communication between photographic images and other visual / verbal texts; and the reception by readers who can assign different meanings to them.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Fotografia]]></kwd>
<kwd lng="pt"><![CDATA[Pesquisa Acadêmica]]></kwd>
<kwd lng="pt"><![CDATA[Metodologia de Pesquisa]]></kwd>
<kwd lng="pt"><![CDATA[Ensino.]]></kwd>
<kwd lng="en"><![CDATA[Photography]]></kwd>
<kwd lng="en"><![CDATA[Academic Research]]></kwd>
<kwd lng="en"><![CDATA[Research methodology]]></kwd>
<kwd lng="en"><![CDATA[Teaching.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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