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Keywords: Digital Culture; Research with Children; Pedagogy of Screens; Childhood Subjectivities.
In this thesis, it is understood that, in the current context of Digital Culture, screen-based artifacts have gained centrality in many societies, taking the form of an extension of the body, a way of life, and unlimited access to the world. In this context, the experiences lived by children, mediated by screens, have played an important role in the production of childhood subjectivities. Based on this premise, the objective was to investigate, through the oral narratives constructed by young children about their experiences with screens, which childhood subjectivities emerge and how they are produced within Digital Culture. The theoretical framework is grounded in Cultural Studies in Education, particularly from a post-structuralist perspective, in dialogue with Childhood Studies and other theoretical approaches. The main concepts mobilized in this research include: culture (Bauman, 2021; Geertz, 2008; Hall, 2006; Silva, 1999); Digital Culture (Jenkins, 2008; Lévy, 1999; Santaella, 2003); children and childhoods (Buckingham, 2010; Corsaro, 2009; Dornelles, 2005; Momo, 2007; Sarmento, 2007; Steinberg, 1997; Postman, 1999); narratives (Bastos, 2013; Bruner, 1997; Larrosa, 1994); and subjectivities (Foucault, 1993; Rose, 2001; Sibilia, 2007; Guattari & Rolnik, 1996). The empirical data were produced using a qualitative research approach with children, inspired by the Qualitative Epistemology of González Rey (2011, 2012). The research method was field study, conducted at a Municipal Early Childhood Education Center in the city of Natal-RN, between August 2023 and January 2024. The participants were 17 preschool children. In the methodological process, a research procedure called spontaneous dialogical narratives was developed. This procedure is based on three key elements: observant participation, dialogical interaction, and spontaneity. In other words, priority was given to observation arising from the researcher's active participation in the children’s activities; to listening mediated by dialogue between the children and the researcher; and to the spontaneity of the children’s everyday activities within the institution, avoiding the creation of artificial research situations. The instruments used included a cell phone, the phone’s audio recorder, and a notepad. The analyses revealed that screen-based experiences activate what is referred to as the Pedagogy of Screens, which operates through techniques such as: the technique of intuitive practice, the technique of participation, the technique of zapping and perpetual transit, and the technique of repetition and reinforcement. The Pedagogy of Screens, through its techniques, produces new forms of childhood subjectivities shaped by the characteristics of Digital Culture, such as: the agent subjectivity, the zapping subjectivity, the media subjectivity, and the kin subjectivity. The agent subjectivity refers to children’s ability to act and learn autonomously through screens. The media subjectivity relates to children’s interest in engaging with media not only as spectators but also as content creators. The zapping subjectivity is connected to the distracted behavior and constant transit fostered by new media. The kin subjectivity refers to the production of shared tastes and interests. Finally, it is understood that screen-based experiences produce subjectivities aligned with the mechanisms, especially the economic ones, of Digital Culture.