Resumen Este artículo examina el creciente auge de los pódcasts de ficción en español dentro del contexto actual de la esfera literaria digital en el ámbito hispánico. Inicialmente, se analiza el fenómeno del podcasting como un medio híbrido que se sitúa en la confluencia de la intermedialidad y la reciente plataformización de la producción cultural. Luego, se profundiza en la reciente relación entre las audioseries y las narrativas de ciencia ficción especulativa, destacando la prevalencia de temas relacionados con futuros distópicos, imaginarios apocalípticos y especulaciones tecnocientíficas. Posteriormente, ofrece una visión panorámica de la producción de pódcasts dentro de esta línea en América Latina y España. El artículo concluye con una propuesta de agenda de investigación que busca establecer un diálogo entre la literatura comparada y el paradigma de la intermedialidad, con el objetivo de posicionar la ficción sonora como un objeto de estudio inter y transdisciplinario.

Resumo Este artigo examina o crescente aumento dos podcasts de ficção em espanhol no contexto atual da esfera literária digital na esfera hispânica. Inicialmente, analisa-se o fenômeno do podcasting como um meio híbrido que se situa na confluência da intermidialidade e da recente plataformização da produção cultural. Em seguida, aprofunda-se a relação recente entre séries de áudio e narrativas especulativas de ficção científica, destacando a prevalência de temas relacionados a futuros distópicos, imaginários apocalípticos e especulações tecnocientíficas. Posteriormente, oferece uma visão panorâmica da produção de podcasts desta linha na América Latina e na Espanha. O artigo conclui com uma proposta de agenda de pesquisa que busca estabelecer um diálogo entre a literatura comparada e o paradigma da intermidialidade, com o objetivo de posicionar a ficção sonora como objeto de estudo transdisciplinar.

Abstract This paper examines the growing rise of fiction podcasts in Spanish within the current context of the digital literary sphere in the Hispanic sphere. Initially, the phenomenon of podcasting is analyzed as a hybrid medium that is situated at the confluence of intermediality and the recent platforming of cultural production. Then, the recent relationship between audio drama and speculative science fiction narratives is delved into, highlighting the prevalence of themes related to dystopian futures, apocalyptic imaginaries and techno-scientific speculations. Subsequently, it offers a panoramic view of the production of podcasts within this line in Latin America and Spain. The article concludes with a proposed research agenda that seeks to establish a dialogue between comparative literature and the paradigm of intermediality, with the aim of positioning sound fiction as an object of transdisciplinary study.

This article explores the use of artificial stuttering as a powerful practice and therapy in higher education in Palestine where the need for applied drama is increasing. It specifically focuses on the artistic and/or performative re-employment of Charles Dickens's Nicholas Nickleby to enhance the academic achievement and social development of dysfluent students throughout and beyond their university education. By using extra-curricular, art-mediated training and in-class performance of chosen passages from Dickens's narrative, students not only improve their linguistic and intellectual competencies but also develop dynamic confidence to articulate themselves in daily social contexts during self-presentation. This academic practice, which is part of a one-term educational disability programme, focuses on training a selected number of undergraduate students with a severe or mild stutter by relying on the technique of artificial impersonation of the stuttering of Smike, who is one of the most common Victorian dysfluent characters, in different melodramatic acts. In this experience, students show linguistic growth and social command of communication, and thus chart a new subjective identity.

BACKGROUND: This research explored how classroom plays could serve as pedagogical tools to introduce children to Sesotho and isiZulu vocabulary of artificial intelligence (AI). The article captures how student teachers learned to write plays that they could produce when they become professional teachers OBJECTIVES: The purpose of this study was to explore how student teachers engaged in a playwriting process, creating drama texts for early grades primary school learners about AI METHOD: The qualitative study employed, a participatory action research design. Data were collected through semi-structured interviews with the student teachers, coupled with a dual analysis of their drama texts. An inductive thematic analysis approach was applied for the data from interviews with the students. A deductive approach was implemented to analyse the drama texts according to criteria for playwriting with a pedagogical purpose RESULTS: The findings revealed that playwriting as a tool for pedagogy can be useful in developing student teachers' vocabulary of AI in Sesotho or isiZulu and to develop their playwriting skills CONCLUSION: The findings contribute to the corpus of pedagogies for the teaching of vocabulary in African languages, which includes writing the texts and aiming to use these for reading experience and for dramatic activity in early grades classrooms CONTRIBUTION: The contribution of this study is how playwriting can serve as a pedagogical tool for the teaching of reading and vocabulary in the primary school

Resumen Los futuros-presente de ser humano posibilitados por las tecnologías digitales, de la Inteligencia Artificial, la edición genética y las tecnologías astronómicas y de exploración espacial tensionan la condición humana en lo relativo a la corporalidad y la psique, los presupuestos evolutivos, biológicos y ecológicos, así como las coordenadas sociales, políticas y cosmológicas. Nuestro trabajo tiene como propósito explorar las circunstancias de la emergencia y despliegue de un “nuevo juego” entre tecnología, ciencia, economía y política, las cualidades particulares de las tecnologías de futuro para articular procesos de invención, innovación y promesa, así como reconocer los límites o umbrales en disputa, tales como los relacionados con el ser humano y la especie, las realidades virtuales, las dramatizaciones científicas y la tecnopolítica. El objetivo final es presentar, de manera pre-visoria, algunas de las potenciales transformaciones, impactos y modelaciones de las realidades antroposintéticas en lo político y lo social. Para las ciencias sociales contemporáneas, la existencia de tiempos fraccionados, en correspondencia con la pluralidad y asimetrías de las comunidades políticas y sociales, implica el desafío de investigar, experimentar y comprender las expectativas, tensiones, apuestas y juegos entorno a los ensambles de las fronteras tecnológicas y las orientaciones de futuros.

Abstract The futures-present of be human, as made possible by digital technologies, artificial intelligence, gene editing and astronomic and space exploration technologies, put a strain on the human condition at both a physical and at a psychological level, as well as in connection with evolutionary, biological and ecological assumptions and with the social, political and cosmological coordinates. Our work sets out to explore the circumstances of the emergency and the deployment of a new game between technology, science, economy and politics, the specific qualities of future technologies to articulate the processes of invention, innovation and promise, as well as to reconnoiter the limits or thresholds in dispute, such as those connected with the human being and species, virtual realities, scientific dramatizations and technopolitics. The final goal is to articulate a foresight, in a pre-vision way, of some of the potential transformations, impacts and modelings of anthropo-synthetic realities in the political and social realms. For contemporary social sciences, the existence of fractioned timeframes, in correspondence with the plurality and asymmetries of political and social communities, implies a challenge to investigate, experiment and understand the expectations, tensions, bets and interactions that revolve around the realms of the technological frontiers and the orientation of futures.

ABSTRACT Talking about the concept of the spectator is to enter into a broad field of reception. We can study their presence from different angles, but it is usually associated with the spectacular, since their presence there is indispensable. However, it is possible to identify a construction of the spectator from the drama itself. This work aims to identify the active presence and a specific construction of the ideal spectator from the text itself. To do this, four cases of Peruvian textual drama will be analyzed from a semiotic and discursive perspective. In this way, we can see that the construction of the spectator will be marked not only by the existence of stage directions indicating the breaking of the fourth wall, but also by the use of a discourse that seeks to actively engage the potential receiver of the work, either through the theme addressed or through the weight given to the role of the spectator in the development of the events.

RESUMEN Hablar del concepto de espectador es entrar en un campo amplio de la recepción. Podemos estudiar su presencia desde distintas aristas, pero normalmente es asociado al hecho escénico, pues su presencia ahí es indispensable. Sin embargo, es posible identificar una construcción del espectador desde la dramaturgia misma. Este trabajo tiene como objetivo identificar la presencia activa y una construcción específica del espectador ideal desde el texto mismo. Para ello, se analizará cuatro casos de la dramaturgia textual peruana desde una mirada semiótica y, en parte, discursiva. De esta manera, podremos notar que la construcción del espectador estará marcada no solo por la existencia de acotaciones que indiquen la ruptura de la cuarta pared, sino por el manejo de un discurso que busque comprometer de manera activa al potencial receptor de la obra, ya sea por la temática tratada o por el peso que le da al rol del espectador para el desarrollo de los hechos.

Resumen El objetivo de este artículo es efectuar un recorrido por algunas reescrituras de la línea argumental central del célebre drama quechua Ollantay, que encuentra una de sus tempranas formulaciones en el poema épico Armas antárticas, escrito por Juan de Miramontes y Zuázola en el Perú a principios del siglo XVII y llega hasta las operaciones discursivas del nacionalismo cultural en la Argentina moderna, de la mano de un autor como Ricardo Rojas. En todos los casos, se evidencia una resignificación de la materia narrativa, asociada tanto a las transformaciones formales como a las necesidades simbólicas de distintos contextos sociohistóricos. Como suele ocurrir con los materiales textualizados en las denominadas «literaturas indígenas», el relato que protagonizan Curricoyllor y Ollanta (o sus diversos avatares) irrumpe periódicamente en el continuo de las letras sudamericanas, conformando variaciones de un lenguaje común, de proyecciones míticas.

Abstract The objective of this article is to review some rewritings of the central plotline of the famous Quechua drama Ollantay. It finds one of its earliest formulations in the epic poem Armas Antárticas, written by Juan de Miramontes y Zuázola in Peru at the beginning of the seventeenth century and reaches the discursive operations of cultural nationalism in modern Argentina, in the writings of Ricardo Rojas. In all cases, a resignification of the narrative material is evident, associated with both formal transformations and the symbolic needs of different socio-historical contexts. As is often the case with textualized materials in the so-called «indigenous literatures», the story starring Curricoyllor and Ollanta (or their various avatars) periodically bursts into the continuum of South American letters, forming variations of a common language, with mythical projections.

Abstract: Alcestis is a dramatic play that oscillates due to its content between the definition of a tragedy and a satirical drama. This characteristic influences the matter treated by Euripides: the death of the protagonist in benefit of her husband, a situation that can be interpreted as a gratuitous act -pure love for Admetus-, or else as a result of the social condition of the main character, who comes from the ancient aristocracy and responds to the dramatic interpretation carried out in the context of Athenian democracy (438 B. C.). The objective of this article is to analyze the most evident passionate, ethical and sociopolitical implications of Alcestis’s dilemma at accepting her premature death before in order to keep Admetus alive.

Resumen: Alcestis es una pieza dramática que, entre sus peculiaridades, oscila por su contenido entre la definición de una tragedia y de un drama satírico. Esta característica incide en la materia tratada por Eurípides: la muerte de la protagonista en favor de su marido, una situación que puede ser interpretada como un acto gratuito -amor puro por Admeto-, o bien como resultado de la condición social del personaje central, que proviene de la antigua aristocracia y que responde a la interpretación dramática realizada en el contexto de la democracia ateniense (438 a. n. e.). El objetivo de este artículo es analizar las implicaciones pasionales, éticas y sociopolíticas más evidentes ante el dilema de Alcestis de aceptar su muerte antes de tiempo para que Admeto pueda seguir viviendo.

Resumen: Este texto estudia el discurso sobre el amor romántico construido por la revista Vogue España en uno de los films cortos Fashion Drama. Se realiza un análisis textual de uno de los vídeos a partir de la intertextualidad con las comedias románticas de Hollywood y, el pastiche de las convenciones genéricas. Se concluye que en estas ficciones, por medio del humor, se reproduce un discurso en el que, si bien se critican los valores hegemónicos sobre el amor romántico de las relaciones heterosexuales, al mismo tiempo se refuerzan los roles de género tradicionalmente atribuidos a la mujer.

Abstract: This paper analyzes the discourse on romantic love constructed by Vogue Spain magazine in one of their short films Fashion Drama. Thanks to the textual analysis of one of the videos -based on the intertextuality of Hollywood romantic comedies and the pastiche of generic conventions- it is concluded that, through humor, this fiction reproducts a discourse that criticizes the hegemonic values of romantic love in heterosexual relationships and simultaneously strengthens the gender roles traditionally attributed to women.

Suspense remains a prime source of readerly interest, especially for readers of popular fiction. Successful crime novels, detective stories and thrillers, in particular, are often characterised as "riveting", a "page-turner", or as possessing the power to keep the reader "hooked". In this article I set out to explore the notion of fictional suspense from a literary-narratological point of view. This article is therefore focused on the inner workings of the suspense text itself rather than a reception study or empirical study of reader responses. I begin by outlining several basic definitions and theories pertaining to suspense as a narratological construct in order to provide a conceptual framework within which specific novels can be discussed. Much has been written about fictional suspense over the years, but as a theoretical point of departure, I draw upon two seminal sources: Suspense: Conceptualisations, Theoretical Analyses, and Empirical Explorations (1996), compiled by Peter Vorderer, Hans J Wulff and Mike Friedrichsen (eds), and George N Dove's Suspense in the Formula Story (1989). While admittedly somewhat dated, these sources remain as relevant as ever and provide a useful framework when attempting to define a field as nebulous as that of suspense studies. In short, suspense may be defined as a noxious affective response to afictional or dispositive structure with two logically opposed outcomes, one of which is evil or immoral but probable or likely, and the other of which is moral but improbable or unlikely (Carroll, 1996). This noxious affective response is elicited in the reader to the extent that he/she is concerned about the existence of some credible endangerment to the welfare of aprotagonist(s) with whom he/ she has formed a dispositionally mediated connection. Suspense is evaluated not only in moral terms (good or bad) but also in terms of subjective certainty. Suspense intensifies a) the more the reader cares for a particular protagonist(s), b) the more terrible the perceived threat, and c) the higher the relative probability of an undesirable outcome (Zillmann, 1996). Suspense is therefore an affective response suffused with implicit moral judgements. Inevitably, questions arise around readerly involvement: How exactly could readers be prompted to care about entirely fictional events and entities as if they were, in fact, real? To address this issue, I go on to discuss several theories of readerly involvement including identification, scenic comprehension, vicarious witnessing, empathic distress, and affective perspective taking. Next, I discuss George Dove's approach to popular suspense fiction - an approach which he calls process criticism. For Dove, reader readiness is key i.e., the extent to which a reader has been conditioned by previous encounters with a particular generic or conventional form such as the suspense thriller or detective novel. Implicitly embedded in the popular suspense story are, according to Dove, two axiomatic truths: 1) nothing in the suspense tale is entirely irrelevant, and 2) there will always be (some sort of) resolution in the end (Dove, 1989:18). I also find Dove's explanatory analogies useful. One is the analogy of the author as "Lecturer Beside the Screen" (1989:23), who is continually pointing out things to the reader by way of textual cues. The other is his analogy of two dialogically opposed voices, the so-called "Voice of the Novel" and the "Voice of Cognition" (1989:28), which produce yet another source of metatextual tension for the reader of suspense fiction. Having concluded the theoretical section of the article, I dive into a discussion of three Afrikaans example texts: Prooi (2018) by Deon Meyer, Die versoeking van Thomas Maas (2020) by Chris Karsten, and Hartedief (2021) by Rudie van Rensburg. These three novels were selected because they were each awarded the ATKV-Woordveertjie vir Spanningslektuur (currently the most prominent literary prize for suspense fiction in Afrikaans). Prooi is essentially a political drama with the two major suspense arcs centred on the theme of state capture. While the protagonists are, respectively, an assassin-with-a-conscience and two honest policemen, it is ultimately the fate of South Africa that is on the line. The heroes' struggle is therefore rooted in a deeper historical battle against injustice. The stakes could hardly be higher. In terms of the suspense process, Prooi makes ample use of the conventions of the spy thriller and the hard-boiled police procedural, and culminates in a gripping double-barrel finale. Die versoeking van Thomas Maas chiefly concerns adultery and may be regarded as domestic noir. In this novel, it is the idealised fantasy of the happy, suburban family life that threatens to be destroyed by a femme fatale. The novel is presented as a retelling of Ella Neser's private investigation (Ella being a well-known sleuth in many of Karsten's previous novels). Erotic tension plays a pivotal role in the elicitation of suspense, but in the end Die versoeking van Thomas Maas resembles a Shakespearian tragedy - as suggested by many of the intertextual references in the novel - since the truth proves to be elusive and complicated. Hartedief is a psychological thriller. The association between the serial killer's bloodlust and inclement weather (what may be termed atmospheric suspense), alongside the many macabre and often grisly descriptions of murder victims, contribute strongly to the suspense in Hartedief. A secondary suspense arc - that of corrupt policemen and ruthless gangsters - fuels the primary storyline in that the conspirators represent an additional obstacle to the two honourable detective-protagonists' cause. In all three novels, we find recurring serial characters that are expected to influence readers' moral dispositions from the outset. Furthermore, the strategic use of narrative focalisation and reader privilege (also known as dramatic irony) play a significant role in the evocation of suspense. In all three cases, Prooi, Die versoeking van Thomas Maas and Hartedief, moral valence turned out to be more ambiguous and nuanced than the theory outlined in section 2 of the article suggests. Characters are mostly portrayed as polyvalent, with both "good" and "evil" traits.

In hierdie artikel ondersoek ek spanning as literêr-teoretiese konsep. Spanning kan gedefinieer word as 'n benouende affektiewe respons wat in die leser tot stand kom na aanleiding van bepaalde tekstuele prikkels. Ek verskaf eerstens 'n aantal definisies en teorieë om sodoende 'n greep te kry op die tekstuele voorvereistes vir die totstandkoming van spanning. Ek steun veral op twee seminale bronne: Suspense: Conceptualisations, Theoretical Analyses, and Empirical Explorations (1996) en Suspense in the Formula Story (1989). Vervolgens bespreek ek drie onlangse bekroonde spanningsverhale in Afrikaans: Prooi (2018) deur Deon Meyer, Die versoeking van Thomas Maas (2020) deur Chris Karsten, en Hartedief (2021) deur Rudie van Rensburg. Ek wys ten slotte op die mees beduidende ooreenkomste en verskille tussen die drie voorbeeldtekste ten opsigte van die spanningsproses.

Abstract: The aim of this article is to look at, through the case of Juliette Figuier, the often invisible role of intellectual women in the dissemination of scientific culture in France and Brazil. It focuses on her play Gutenberg (1869) which was translated into Portuguese in 1877 and circulated in Brazil. The play, which deals with the mythical life of the inventor of the printing press, is included in the list of narratives about science produced by popularizers of science - such as her husband, Louis Figuier. Often mistaken as a work of the latter, Gutenberg was originally written by Juliette Figuier. The article seeks to discuss through this case how women could participate in the production of cultural goods which projected the image of Science in a mediating role.

Resumo: O objetivo deste artigo é abordar, a partir do caso de Juliette Figuier, a atuação frequentemente invisibilizada de mulheres intelectuais na disseminação da cultura científica entre França e Brasil. O objeto de estudo é a peça teatral Gutenberg (1869) da autora, que também circulou pelo Brasil através de uma tradução em português, de 1877. A peça, que trata da vida mitificada do inventor da imprensa, insere-se no rol de narrativas sobre a ciência realizada pelos vulgarizadores das ciências - como seu marido Louis Figuier. Muitas vezes confundida como obra do vulgarizador, Gutenberg, no entanto, foi originalmente escrita por Juliette Figuier. O artigo, com este caso, procura discutir como mulheres podiam participar da produção de bens culturais que projetaram a imagem sobre a “ciência”, em um papel de mediação.

RESUMEN La realidad del mal ha sido siempre un gran enigma para la humanidad. Balthasar propone una teología trinitaria y soteriológica que introduce elementos novedosos en la comprensión del mal. En particular, el mal encuentra su condición de posibilidad en la distancia del amor dentro de la Trinidad. Esta posición, que he calificado de audaz, es evaluada en este estudio desde tres perspectivas: la ubicación del mal dentro del Teo-drama, una cierta fenomenología del mal/pecado, y el examen de lo que podría ser una cierta “responsabilidad” de Dios por la realidad del mal. ¿Es posible afirmar algo así? humanidad particular Trinidad posición audaz perspectivas Teodrama, Teodrama Teo drama, drama Teo-drama malpecado pecado mal/pecado responsabilidad “responsabilidad Es así

ABSTRACT The reality of evil has always been a great enigma for humanity. Balthasar proposes a Trinitarian and soteriological theology that introduces novel elements into the understanding of evil. In particular, evil finds its condition of possibility in the distance of love within the Trinity. This position, which I have described as audacious, is evaluated in this study from three perspectives: the placement of evil within the Theo-drama, a certain phenomenology of evil/sin, and the examination of what could be a certain “responsibility” of God for the reality of evil. Is it possible to affirm something like this? humanity particular Trinity position audacious perspectives Theodrama, Theodrama Theo drama, drama Theo-drama evilsin sin evil/sin responsibility “responsibility

Abstract: By referring to H. Bergson's theory about the evolutionary process, this article reflects on the antinomic character of the two fundamental tendencies of the vital movement, which are pure time and materiality. Starting from the importance of the image in this philosophy, it focuses on the Bergsonian ontology, questioning the notion of vital elan and how matter comes and the real-time is inscribed in it. By highlighting the ambiguity of the role played by materiality in the tensioning of vital forces, the discussion explains that the original impulse establishes its antipode. Thus, it reveals the dramatic character that permeates the movement intrinsic to the history of life, in which effort and struggle are correlated to the limits of the impulse that moves it - and inevitable questions for the creative act that defines it.

Resumo: Ao voltar-se para a teoria de H. Bergson acerca do processo evolutivo, este texto toma como objeto de reflexão o caráter antinômico das tendências fundamentais do movimento vital: tempo puro e materialidade. Partindo da importância da imagem, nessa filosofia, debruça-se sobre a ontologia bergsoniana, problematizando tanto a noção de elã vital quanto o modo pelo qual a matéria advém e o tempo real nela se inscreve. Ao destacar a ambiguidade do papel desempenhado pela materialidade, no tensionamento das forças vitais, a discussão explicita que o impulso originário instaura, ele próprio, seu antípoda. Revela-se, assim, o caráter dramático que impregna o movimento intrínseco à história da vida, no qual esforço e luta são correlatos dos limites do impulso que a move e quesitos incontornáveis para o ato criador que a define.

As a result of the Project "Medicalization in Goiás: critical investigations in the history and contemporaneity of biopsychosocial practices and discourses", this paper reports a research on the drama of teacher’s psychiatrization in the teacher-student relationship in the municipal educational system of Goiania, Brazil. The sickness absenteeism of teachers from elementary education for medical reasons coded with the F index of the ICD-10 envisages a context of precariousness of work in capitalism, with impacts on the social relationship between teachers and students. We discuss the characteristics pointed out in this interaction that reveal the dialectical complexity of the drama of psychiatric illness and the material conditions of the work experience, performing a qualitative analysis of data collected in sheets, synthesized from medical license records made available by the Municipal Medical Board. Our reference was Cultural-Historical Psychology as interpreted by Yves Clot's Clinic of Activity. We considered 35 sheets that refer to the teacher-student relationship during the process of teacher’s psychiatrization. Thereon, we divided categories between complaints and its developments, which reveal a common process in the suffering of these teachers. The results note that the occupational psychopathologies is related to the precariousness and expropriation of the real of the activity from the workers. We conclude our research with emphasis on the intervention of the collective as a resource to face psychiatrization, as well as subsidizing public policies that aim to face the precariousness of work as a socially constituted process at the heart of a dialectical historical-social context.

Vinculada al Proyecto "Medicalización en Goiás: investigaciones críticas en la historia y contemporaneidad de las prácticas y discursos biopsicosociales", esta investigación de Iniciación Científica se refiere al análisis del drama de la psiquiatrización docente en la relación docente-alumno en la red municipal de Goiânia. El absentismo de docentes de la educación básica por motivos médicos codificados con el índice F de la CIE-10 avizora un contexto de precariedad del trabajo en el capitalismo, con impactos en la relación social entre docentes y alumnos. Discutimos las características señaladas en esta interacción que revelan la complejidad dialéctica del drama de la enfermedad psíquica y las condiciones materiales de el trabajo, con el análisis cualitativo de fichas de síntesis, elaboradas a partir de actas de licencias médicas puestas a disposición por el Consejo Médico Municipal. Nuestra perspectiva fue la Psicología Histórico-Cultural según la interpretación de la Clínica de la Actividad de Yves Clot. Se consideraron 35 fichas que se refieren a la relación docente-alumno. Creamos categorías, divididas entre quejas y sus desarrollos, que revelan procesos comunes en el sufrimiento de estos docentes. Nuestras conclusiones notan que la presencia de psicopatologías ocupacionales está relacionada con la precariedad y expropiación de lo real de la actividad de los trabajadores. Concluimos nuestra investigación con énfasis en la intervención del colectivo como recurso para enfrentar la psiquiatrización, así como subsidiar políticas públicas que apunten a enfrentar la precariedad del trabajo como un proceso socialmente constituido en el seno de un contexto dialéctico histórico-social.

Vinculada ao Projeto "Medicalização em Goiás: investigações críticas na história e contemporaneidade de práticas e discursos biopsicossociais", o presente artigo relata pesquisa referente ao drama da psiquiatrização docente na relação professor-aluno da rede municipal de Goiânia. O absenteísmo-doença de professores da educação básica por razões médicas codificadas com o índice F do CID-10 mostra um contexto de precarização e alienação do trabalho no capitalismo, com impactos na relação social entre docentes e estudantes. Discutimos as características apontadas dessa (e nessa) interação que desvelam a complexidade dialética do drama do adoecimento psíquico e das condições materiais da vivência laboral, com a análise qualitativa de fichas-sínteses elaboradas a partir de prontuários de licenças médicas disponibilizados pela Junta Médica Municipal de Goiânia. Nosso referencial foi a Psicologia Histórico-Cultural tal como interpretada pela Clínica da Atividade de Yves Clot. Consideramos 35 fichas - de 109 analisadas - que se referem à relação professor-aluno no decorrer do processo de psiquiatrização docente. Em seguida, criamos categorias, rotuladas como queixas e desdobramentos, que revelam processos comuns no sofrimento desses docentes. Observamos que a presença de psicopatologias laborais se relaciona à precarização e à desapropriação do real da atividade pelo trabalhador. Consideramos que a doença é um processo socialmente constituído no âmago de um contexto histórico-social dialético, finalizando nossa pesquisa com destaque para a intervenção do coletivo como recurso de enfrentamento à psiquiatrização, bem como subsidiando políticas públicas que visem a enfrentar a precarização laboral.