Este estudo buscou como objetivo mostrar como os professores da escola pesquisada construíram suas práticas pedagógicas a partir de uma proposta político-pedagógica diferenciada em sua organização, em seu discurso e em sua forma de transmissão do conhecimento. A análise realizada através dos conceitos de classificação e de enquadramento do sociólogo Basil Bernstein indicou qual é o tipo de controle que o professor exerceu na prática pedagógica, e se existia ou não, um processo dialógico entre o transmissor e o adquirente. A análise destes aspectos na escola revelou um contexto social caracterizado por uma identidade própria quanto à distribuição, reprodução e mudança no código educacional: do de coleção para o de integração. Esta dissertação mostra uma prática pedagógica marcada pela permanente reflexão de como melhor construir o contexto escolar, pensando-se em professores que ensinam e aprendem, pensando-se em alunos que aprendem e ensinam, num dinamismo educacional onde as trocas cognitivas e sociais ocorreram numa rede de interações significativas visando à inclusão e à participação. / This study aims at showing that the teachers of the researched school have built their pedagogic practice departing from a new political pedagogic proposal different in its organization, discourse and in its way of knowledge transmission. The analysis accomplished through the concepts of classification and framing of the sociologist Basil Bernstein pointed out to the type of control the teacher exerced in the pedagogic practice and wheather or not these was a dialogical process between transmitter and acquirer. The analysis of there aspects in the school revealed a social context featured by a particular identity as to the distribution, reproduction and change in the educational code: from one characterized as colection to that one of integration. This dissertation shows a pedagogie practice marked by permanent reflection as to better construct the school context, aiming at teachers who both teach and learn, and students who do the same, in an educational dynamism where the social and cognitive interchanges took place in a web of remarkable interactions intending inclusion and paticipation.

This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-29T16:21:55Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VooCriacaoLiteraria.pdf: 1710500 bytes, checksum: 3624e59b962c896adef89503a5fb2074 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-29T16:45:55Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VooCriacaoLiteraria.pdf: 1710500 bytes, checksum: 3624e59b962c896adef89503a5fb2074 (MD5) / Made available in DSpace on 2014-10-29T16:45:55Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VooCriacaoLiteraria.pdf: 1710500 bytes, checksum: 3624e59b962c896adef89503a5fb2074 (MD5) Previous issue date: 2013 / A pesquisa busca uma abertura para compreender o sentido da obra literária imbricada no mistério da criação artística a partir das suas figurações em Avalovara (1973), de Osman Lins. Em meio à interpretação do romance, pretende-se percorrer questões fundamentais que subjazem no revestimento conceitual instaurado ao longo da modernidade literária. Em Avalovara, o leitor é encaminhado a um pensamento originário que resgata a instância poética da narrativa, projetando o fazer artístico em uma dimensão mítica que é Linguagem acontecendo em seu silêncio. Isso só é possível pela elaboração de uma narrativa que já não representa, mas encena questões, realizando-as na tessitura de seus elementos. O romance se põe à procura de sentido para realidade, questionando a tradição mimética – corolário de uma metafísica essencialista e subjetivista –, e, em seu procurar desvela-se o seu sentido de ser, o seu ser-obra de arte. Neste sentido, reaviva-se a referência essencial entre arte e verdade, em que esta, é a própria dinâmica de re-velação do real retraindo sua realidade em tudo o que se manifesta. A obra de arte corresponde a essa dinâmica de ser das coisas. Nelas e por elas a procura se dá, passo a passo, revelando-se aos poucos em cada palavra, obra e verdade. Procurando pela verdade, o homem, coisas entre coisas, pode se reintegrar com a realidade de ser; Abel, o humano, o artista, o escritor pode reingressar no paraíso pelo exercício do amor pleno que há no cuidado para com as coisas em seu silêncio, silêncio da Linguagem que acolhe não só o poder criativo da literatura, mas também da própria existência humana. / The research seeks an opening to understand the meaning of the literary imbricated in the mystery of artistic creation from its figurations in Avalvara (1973), by Osman Lins. Amid the interpretation of the novel, it is intended to go through fundamental issues that underlie the conceptual coating established along the literary modernity. In Avalovara, the reader is forwarded to an originating thought that rescues the poetic instance of prose, and designs the artistic on a mythic dimension that is the Language happening in its silence. This is only possible by developing a narrative that no longer represents, but stages issues, performing them in the fabric of its elements. The novel begins to search for meaning to reality, questioning the mimetic tradition - a corollary of essentialist metaphysics and subjectivism - and, in its seek, it is revealed its sense of being, its being-artwork. In this sense, the essential reference between art and truth is revived,. In this reference, the truth is the dynamic re-velation of the real retracting its reality in all that manifests. The artwork corresponds to this dynamic (which is the being of things), them and for them, the work of art and truth, is that the search takes place in Avalovara, step by step, gradually revealing itself in every word. Searching for the truth, man, things between things, can be reintegrated with the reality of being; Abel, the human, the artist, the writer can rejoin the paradise by exercising full love that is in care for things in their silence , the silence of the language that welcomes not only the creative power of literature but also of human existence.

Typescript (photocopy) Includes bibliography.

This dissertation pairs a nineteenth-century American writer, Herman Melville, and a twentieth-century New Zealand writer, Janet Frame, to consider points of overlap between two novelists who were unusually sensitive to the problem of political thinking and decision in situations of state emergency. Consisting of three chapters on Melville’s later maritime fiction (Moby-Dick, Benito Cereno, and Billy Budd, Sailor) and two interleaving chapters on Frame’s late autobiographical and fictional writings (An Angel at My Table and The Carpathians), the dissertation explores how, in the work of these writers, figural work builds around interlinked questions of emergency and judgment. Both writers are interested in situations of peril when the fragility of bodily life is exposed and when the coherence of given political orders is tested. Both probe the response of the human legislative urge and the limits of the power of judgment in the time of crisis and exception, producing narratives of the tense moment of executive decision. Their literary forms heighten awareness of the mechanisms, frameworks, and effects of different modes of judgment--whether cognitive, moral, legal, aesthetic, or political--under emergency conditions. Out of this engagement with the nexus of judgment and security, both writers ask what might happen if we were to abide with precariousness and insecurity rather than default to the often destructive praxis of security. Melville and Frame also push the capacities of language and form in their attempt to represent the possibility of modes of judgment adequate to such political renewal. In their rhetoric and formal structures--including their experimental “disfiguration” of narrative lines--and in their creation of intricate, reflexive literary voices, these writers imagine what it would mean to come up against the limit of, and even to overturn, accepted categories of knowledge and thought, of calculation and judgment.

This dissertation pairs a nineteenth-century American writer, Herman Melville, and a twentieth-century New Zealand writer, Janet Frame, to consider points of overlap between two novelists who were unusually sensitive to the problem of political thinking and decision in situations of state emergency. Consisting of three chapters on Melville’s later maritime fiction (Moby-Dick, Benito Cereno, and Billy Budd, Sailor) and two interleaving chapters on Frame’s late autobiographical and fictional writings (An Angel at My Table and The Carpathians), the dissertation explores how, in the work of these writers, figural work builds around interlinked questions of emergency and judgment. Both writers are interested in situations of peril when the fragility of bodily life is exposed and when the coherence of given political orders is tested. Both probe the response of the human legislative urge and the limits of the power of judgment in the time of crisis and exception, producing narratives of the tense moment of executive decision. Their literary forms heighten awareness of the mechanisms, frameworks, and effects of different modes of judgment--whether cognitive, moral, legal, aesthetic, or political--under emergency conditions. Out of this engagement with the nexus of judgment and security, both writers ask what might happen if we were to abide with precariousness and insecurity rather than default to the often destructive praxis of security. Melville and Frame also push the capacities of language and form in their attempt to represent the possibility of modes of judgment adequate to such political renewal. In their rhetoric and formal structures--including their experimental “disfiguration” of narrative lines--and in their creation of intricate, reflexive literary voices, these writers imagine what it would mean to come up against the limit of, and even to overturn, accepted categories of knowledge and thought, of calculation and judgment.

L'objet d'étude de ce mémoire est l'oeuvre du peintre japonais Shiraga Kazuo, membre du Groupe Gutai de 1954 à 1972. Ce dernier est reconnu pour sa technique particulière de peinture aux pieds. L'objectif de l'exposé est d'abord de voir comment Shiraga en est venu à utiliser ses pieds pour étendre l'huile sur la surface de la toile. C'est en poursuivant cette logique picturale acquise par l'artiste au début des années cinquante qu'il est possible d'interpréter deux performances de Shiraga, Veuillez entrer s'il vous plaît et Défier la boue. Le mémoire se penche aussi sur les filiations et influences de la technique de peinture corporelle employée par l'artiste. L'étude représente de plus la première tentative d'explorer la dimension spirituelle de l'oeuvre de Shiraga Kazuo, lui qui est devenu prêtre laïc de l'École Tendai en 1971. Les arguments proposés dans cette partie de l'exposé visent à exprimer l'accomplissement des théories du peintre dans les pratiques ésotériques du Tendai. La pensée esthétique de Friedrich Wilhelm Nietzsche est employée tout au long du mémoire afin d'arranger les hypothèses des différents chercheurs du domaine en un tout cohérent et signifiant. Les paroles de l'artiste lui-même sont augmentées de la terminologie nietzschéenne, plus précisément du discours sur l'ivresse dionysiaque articulé dès La naissance de la tragédie (1872). C'est en la personne de Mishima Yukio, l'un des auteurs japonais les mieux connus, et parmi les plus controversés, du vingtième siècle, que devient réalisable l'association de la pensée nietzschéenne et de la vision artistique de Shiraga. Nietzsche suit le parcours proposé par l'exposé jusque dans l'étude des parallèles entre art et bouddhisme, lui qui a développé une philosophie de l'existence qui s"approche, en certains points, de la doctrine orientale. Le mémoire se donne pour objectif de répondre à la question suivante: comment l'oeuvre de Shiraga Kazuo peut-elle se transformer et changer de nature tout en conservant une étonnante constance formelle et technique? Cette transformation s'effectue par I'adoption de modèles classiques et ancestraux, vêtements, ou masques, que Shiraga revêt après avoir dépouillé sa peinture de tous ses artifices. Entre avant-gardisme et traditionalisme, Shiraga fait de la contradiction le moteur de son action picturale, une contradiction qui trouve finalement sa source dans l'union des deux forces opposées, mais complémentaires, que sont Apollon et Dionysos. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Shiraga, Gutai, Bouddhisme, Nietzsche, Ivresse, Mishima.

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Thèse de doctorat : Anglais : Rennes 2 : 2008. / Bibliogr. f. 421-455. Index des noms.

Graduate