O funcionamento discursivo do gênero canção no exame nacional do ensino médio.

Abstract

The discursive functioning of the song genre in the national high school exam. In 2009, the Ministério da Educação (MEC), through Instituto Nacional de Estudos e Pesquisas Educacionais Anísio Teixeira (INEP), launches a Reference Matrix that organizes the evaluation process of the Exame Nacional do Ensino Médio (Enem) in four areas of knowledge (Languages, Mathematics, Social Sciences and Natural Sciences). From this year, the preparation of the questions shall be guided by the "cognitive axis" and "competences and abilities" for each area of knowledge covered, and the Exam begins to be used as the main selection feature to ingress the higher education. It is noticed the presence of discursive genres in the composition of the Exam questions related to Languages test. In each question is discussed a particular discursive genre, that the author of the question uses for the evaluation of certain competencies and skills provided in the Reference Matrix. Among the various discursive genres covered in Enem Languages test, the objective was to investigate the discursive function of the genre song, in order to understand that the discursive processes characterizes the inclusion of the genre in the pedagogical discourse of the Exam. The purpose of specifically verify the historicity of the genre song in Enem, and images of reading and subject-reader produced in the Exam, it was made use of the theoretical approach of discourse analysis from Pecheutian aspect, in order to deal with the issue of the the discourse, the production of subjects and subject images, and the reading about the genre song. To theoretically support the study of this research object of investigation, we used theoretical Bakhtinian assumptions about the problem and definition of discursive genres, and studies dealing with discursive genres as historical and cultural object and/or object of study and teaching mother language. This documentary research is characterized as exploratory and qualitative, through the descriptive and interpretative aspect used for the analysis of the collected data, that is, questions that address the Brazilian music as a discursive genre and/or thematize its historicity. As a result of analysis it was observed that the Enem represents, in its evaluation process, the constitution of an image of genre song sometimes considered in its historicity, sometimes composed of simplification and/or deletion of historicity, by the emphasis on linguistic-comunicative elements. It was verified that the reading of this genre as a historical building practice is contemplated not as prevailing trend of the Exam, but as another possible reading, rather than reading the genre song as practice identification/confirmation of knowledge of linguistic elements of Brazilian Portuguese. It was concluded that, although the Enem discourse route the production of controllers and homogenizing senses of knowledge about lang/language, it was observed that the discursive operation that prevails in Enem questions points to the production of meanings that escapes from constitution of the ideal reader image, critic and interpreter, in detriment of the reader image produced by the matching and confirmation/identification of readings legitimated by the subject-author of the Exam, which reveals, for teachers and students that deal with/about the Enem, the discursive processes that show heterogeneity and/or contradiction on the discourse of the lang/language.