L'évolution des pratiques d'enseignement des arts visuels et arts plastiques dans le cadre de la commande institutionnelle préconise le recours à l'œuvre d'art authentique. Par ailleurs, l'enseignement des arts doit contribuer, au-delà de ses apports propres aux « apprentissages fondamentaux » aussi bien culturels que techniques.La mise en place et en œuvre, l'exploitation de la situation de rencontre avec l'œuvre ainsi définie requiert de la part des enseignants un ensemble de compétences qui demandent à être éclairées et problématisées. La recherche porte sur la genèse de gestes professionnels, sur le rapport à l'œuvre et le développement de compétences professionnelles, ainsi que sur la nature des objets d'enseignement, (transposition des savoirs de référence, compétences d'ingénierie didactique, articulation des savoirs spécifiques avec les « apprentissages fondamentaux » et socialisation scolaire). La problématique s'est construite sur des questions qui croisent le rapport à l'œuvre de ces enseignants, les gestes professionnels et la construction d'une théorie que nous avons explicitée comme une « théorie personnelle-en-acte ».Le recueil de données s'est fait au niveau de l'école primaire et du collège. L'enquête a intégré la spécificité d'une école maternelle possédant une Petite Galerie (espace spécifique dédié dans l'établissement où les élèves, très jeunes rencontrent des œuvres d'art « authentiques » ou réelles). Elle a apporté un éclairage sur les pratiques pédagogiques des enseignants.Les méthodologies s'appuient sur l'enquête de terrain par observation participante, l'entretien d'explicitation de type Vermersch et l'analyse du discours. Les cadres théoriques confrontent des angles d'attaque habituellement cloisonnés : esthétique, sciences de l'art, histoire des arts (Goodman, Arasse, Pélissier, Château...) ; sociologie (Heinich, Lahire) ; la didactique des arts visuels, arts plastiques (Chanteux, Gaillot, Lagoutte, Reyt...) et la didactique comparée des arts (Goodman, Rickenmann...); la théorie du développement professionnel dans les situations (théorie de l'action située, des gestes professionnels).Le rapport à l'œuvre s'est construit dans une dynamique familiale, scolaire et professionnelle et la recherche de la genèse de ce rapport à l'œuvre nous fait constater le rôle joué par certaines rencontres séminales. Les éléments d'une théorie personnelle de l'art, de l'œuvre, de l'expérience qui sous-tendent ce rapport à l'œuvre, montrent une interdépendance. La rencontre de l'art favorise la mise en place de cette « théorie-en-acte ». Enfin, le rapport à l'œuvre de nos interlocuteurs détermine leur pratique professionnelle : des liens entre rapport à l'œuvre, conceptions et gestes professionnels clefs de leur métier, ont été mis en évidence. / Changes in teaching practices of the visual arts visual arts in the context of institutional control and advocates the use of authentic artwork. In addition, arts education should contribute beyond his own contributions to the "basic skills" as well as cultural techniques.The establishment and implementation, operation of the meeting situation with the work thus defined requires that teachers with a set of competencies that need to be informed and problematized. The research focuses on the genesis of professional acts on the report at work and the development of professional skills, as well as the nature of educational objects (translation of reference knowledge, didactic engineering skills, articulation specific knowledge with the "basic skills" and academic socialization). The problem is built on issues that cross the relation to the work of these teachers, professional acts and building a theory we explained as a "personal theory-in-action."Data collection was done at the elementary and middle school. The investigation has included the specificity of a kindergarten with a Small Gallery (specific space dedicated in the institution where students encounter very young art "authentic" or real). She shed light on teaching practices.The methodologies are based on fieldwork through participant observation, maintenance of explaining Vermersch type and discourse analysis. Theoretical frameworks confront angles of attack usually compartmentalized: aesthetics, art sciences, art history (Goodman, Arasse Pelissier, Castle ...) Sociology (Heinich Lahire); the teaching of visual arts, visual arts (Chanteux, Gaillot, Lagoutte, Reyt ...) and comparative arts teaching (Goodman, Rickenmann ...) theory development in professional situations (theory of situated action, professional gestures).The report on the work was constructed in family dynamics, school and work and the search for the origins of this report at work makes us see the role played by some seminal events. The elements of a personal theory of art, the work experience behind this report to work, show an interdependence. The meeting of art promoting the establishment of this "theory-in-action." Finally, the relation to the work of our interlocutors determines their professional practice: links between relation to the work, designs and professional acts keys to their profession, were highlighted.

This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle's curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs.

Made available in DSpace on 2017-07-21T20:31:34Z (GMT). No. of bitstreams: 1 Luizana Pellizzari.pdf: 391691 bytes, checksum: abbbfa374343c995fae8ce89d8e085f0 (MD5) Previous issue date: 2006-03-08 / This work describes an aesthetic experiment with students in the second year of the Visual Arts course at the State University of Ponta Grossa (PR) in 2004. Its central issue is: Could a certain practice of familiarization and production with contemporary art interfere in students’ conceptions and practices regarding art and the teaching of art? The focus of this proposal was the 26th International Bienal in São Paulo. Some initial inquiries guided the study, due to these students’ school background: how did their contact with art, mainly the contemporary one, develop? Which aesthetic processes have they been through? Could their conceptions and practice change with the teacher’s intervention? The reflections developed during the research time aimed at surveying concepts and practices that remain and the ones that change, as well as the possibility of inserting contemporary art as one of the subjects taught. The formulations of the dialectical materialism were used as theoretical-methodological reference in order to better understand the relations between art and society, art in the capitalist society and the government policies for the teaching of art in Brazil. The action-research was used as a methodological strategy so that an aesthetic experiment could be put into practice and from these possibilities of education and training of Visual Arts teachers could be extracted. / O trabalho relata uma experiência estética envolvendo a turma do 2º ano de Licenciatura em Artes Visuais da Universidade Estadual de Ponta Grossa (PR), no ano de 2004, tendo como questão central: uma prática de familiarização e produção com arte contemporânea poderia interferir nas concepções e práticas desses alunos quanto à arte e ensino de arte? O foco dessa proposta foi a 26ª Bienal Internacional de São Paulo. Algumas indagações iniciais nortearam o trabalho: dados os antecedentes escolares desses alunos: como se processou o contato com a arte e em especial com a contemporânea? Quais os processos estéticos pelos quais passaram? Haveria mudança de concepção e prática tendo em vista uma intervenção docente? As reflexões ocorridas durante a pesquisa objetivaram levantar conceitos e práticas que permanecem e que mudam bem como as possibilidades de inserção da arte contemporânea na atividade docente. Como referencial teórico-metodológico mais amplo foram utilizadas as formulações do materialismo dialético para compreender as relações entre arte e sociedade, arte na sociedade capitalista e as políticas para o ensino de arte no Brasil. A pesquisa-ação foi usada como estratégia metodológica para colocar em prática uma experiência estética e dela deduzir as possibilidades educativas na formação de professores de artes visuais.

Made available in DSpace on 2016-04-28T20:57:24Z (GMT). No. of bitstreams: 1 Francisco Carlos Franco.pdf: 633689 bytes, checksum: c02336627780ffd59b0d8c8a9cca207a (MD5) Previous issue date: 2008-05-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis presents an investigation about the feeling and emotions of Art teachers who have been acting into a Paulista State school of teaching followed by changes that happened last decades. To develop this study we chose to qualitative research using a semi structured interview. There were light teachers of Art who participated of this work acting in a Teaching Directory of Great São Paulo region , professionals that are well known to execute their work in the community. Our study is guided by the Theory of Henri Wallon who discussed the human being development as an integration result between the organism and the environment, the organic and the social as well as the affective, cognitive and coordination reactions. We could also check the speech of teachers that educational changers were derived from public politicians into Paulista s governments who had engaged the environment of work of Art teachers, whit full classes, low salaries, extensive period of work, lack of didactic materials and an appropriate room to the teaching of Art, among others and developed feelings of in satisfaction, revolt and disgusting on teacher. It was also possible to verify that those factors rohich had promoted problems and make the action difficult to teachers of Art by not causing the rules asked by these professionals who have with the education and teaching a serious program that showed actual and constant improvement of their docent practice and an engaged program with those young people who they act, what has revealed through attitudes of care, responsibility to the development of their teaching process, of students and also by themselves established / Esta tese apresenta uma investigação sobre os sentimentos e emoções dos professores de Arte que atuam na Rede Estadual de Ensino paulista frente às mudanças que se efetivaram nas últimas três décadas. Para desenvolver este estudo optamos por uma pesquisa de natureza qualitativa utilizando a entrevista semi-estruturada. Participaram da pesquisa oito professores de Arte que atuam em uma Diretoria de Ensino da Grande São Paulo, profissionais estes que têm seu trabalho reconhecido na comunidade onde atuam. Nosso estudo está orientado pela proposta teórica de Henri Wallon, que contempla o desenvolvimento humano como resultado da integração entre o organismo e o meio, entre o orgânico e o social, bem como dos domínios afetivo, cognitivo e motor. Pudemos constatar no discurso dos professores que as mudanças educacionais decorrentes das políticas públicas nos governos paulistas comprometeram o ambiente de trabalho dos professores de Arte, com salas superlotadas, salários baixos, carga excessiva de trabalho, falta de materiais didáticos e salas apropriadas para o ensino de Arte, entre outros, e desencadearam sentimentos de insatisfação, revolta e desilusão nos professores. Por outro lado, também verificamos que esses fatores que interferiram no trabalho e dificultaram a ação dos docentes de Arte não comprometeram o compromisso que estes profissionais têm com a educação e com o ensino, pois se mostraram atualizados e em constante busca de aprimoramento de sua prática docente e compromissados com os jovens com que atuam, o que se revelou por atitudes de cuidado, zelo e responsabilidade para com o desenvolvimento do seu ensino, dos seus alunos e de si próprios

The unique characteristics and needs of artistically talented students were explored. World history students at the Douglas Anderson School of the Arts were used as a test group for the utilization of a variety of art forms in teaching world history. Lesson plans using art media for each unit of study in world history were constructed. Students responded to each lesson by completing an attitude survey. The conclusion was that the use of a variety of art in world history increased student interest and motivation. The increased student motivation resulted in a failure rate of approximately 5%, significantly lower than the previous failure rate of 12%.