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RESUMO : E ste trabalho tem por objetivo descrever, pautado na Analise do Discurso francesa e na Historia Cultural, as praticas discursivas da representacao contemporânea do leitor por meio de algumas reflexoes sobre a critica especializada e a amadora. Utiliza-se como recorte do corpus uma noticia veiculada no portal de entretenimento do UOL, intitulada “Mercado literario: Os booktubers vao substituir os criticos especializados?”, assinada por Rodrigo Casarin. Procura-se elencar e compreender as formacoes discursivas sobre o leitor comum e o leitor profissional, este entendido como a critica literaria profissional que se serve de uma leitura institucionalizada. Questiona-se: por que a critica literaria formal se reveste de prestigio, mas quando se quer vender as obras e movimentar o mercado editorial e preciso, na atualidade, promover o comentario amador? Quais os limites ent r e o leitor comum e o critico especializado? Por que postar um video na internet gera capital social para aquele que se denomina leitor voraz e aproxima leitores e escritores? Em termos de linguagem, o que se diz sobre a leitura na epoca da cibercultura? Para dar conta dessas indagacoes sao utilizadas as reflexoes teoricas encontradas nas obras de Orlandi (2012) , Foucault (2010) e Chartier (1998, 2010) . PALAVRAS - CHAVE : d iscurso; l eitura; l ivros; c ritica . ABSTRACT : This paper aims at describing, based on the French Discourse Analysis and Cultural History, the discursive practices of contemporary representation of the reader through some reflections on the specialized and amateur critics. It is used as corpus cut one piece of news published on the entertainment portal UOL, under the title "Literary Market: will the booktubers replace the specialized critics?", signed by Rodrigo Casarin. It seeks to list and understand the discursive formations of the general reader and the professional player, this understood as the professional literary criticism that serves as an institutionalized reading. It wonders: why is the formal literary criticism of prestige, but when you want to sell the works and move the publishing market, it is necessary, at present, to promote the amateur comment? What are the limits between the general reader and the expert critical? Why does posting a video on the Internet give social capital to the one that is called a voracious reader and bring together readers and writers? In terms of language, what is said about reading at the time of cyberculture? To account for these reflections, theoretical reflections found in the works of Orlandi (2012), Foucault (2010) and Chartier (1998, 2010) are used . KEYWORDS : d iscourse; r eading; b ooks; c ritic s .

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Contrastes entre a crítica literária especializada e amadora: os booktubers e os discursos sobre o livro e a leitura / Contrasts between the specialized and unprofessional literature critics: the booktubers and the discourses about the book and the reading