Applied sport psychology consultation is a relatively new phenomenon with limited empirical underpinnings. The purpose of the study was to evaluate three applied sport psychology consultant personal and professional characteristics within Strong's social influence model that have been suggested to impact consultants' effectiveness in working directly with athletes and their performance problems. The three consultant characteristics were academic training, past athletic experience, and interpersonal skill. Division I female athletes (N = 187) read written preconsultation information and watched a 10- minute vignette between a consultant and an athlete. Participants completed the Counselor Rating Form-Short (CRFS), the Sport Psychology Consultant Evaluation Form (CEF), and questions concerning willingness to work with the consultant. The data from the dependent measures were analyzed by a 2 (level of consultant academic training) X 2 (level of consultant past athletic experience) X 2 (level of consultant interpersonal skill) MANOVA. Results indicated that applied sport psychology consultants' academic training and past athletic experience had only limited influence on the participants' perceptions about the consultants. The Division I female athletes unambiguously rated consultants with positive interpersonal skills more favorably on all dependent measures regardless of the consultants' level of academic training or past athletic experience. Directions for future research and implication of the findings on training and certification in applied sport psychology are discussed.

Nesta tese procuro identificar e compreender de que modo os estudantes de Educação Física (EF) da Escola de Educação Física, Fisioterapia e Dança da Universidade Federal do Rio Grande do Sul (ESEFID/UFRGS) atribuem sentidos à docência, e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos. A escolha da temática ocorre a partir de um “olhar” lançado sobre meu próprio processo formativo. Especificamente, ao reconhecimento do lugar que ocuparam determinados eventos, experiências e pessoas, a partir dos quais foi possível compreender a docência por outros sentidos: prioritariamente em seu sentido formativo, procurando superar a exclusividade do sentido pautado por uma racionalidade técnica e instrumental. Assim, partindo do pressuposto de que os sentidos que atribuímos a determinados fenômenos no mundo estão, de algum modo, relacionados à maneira com que experienciamos e interpretamos esses fenômenos; e que, no interior da Formação Inicial (FI) em EF, o estágio se constitui em espaço/tempo privilegiado quanto à apresentação de outras possibilidades de leitura da docência, formulei o problema de pesquisa: que sentidos são atribuídos à docência pelos estudantes de Educação Física da ESEFID/UFRGS e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos? Servindo-me de observações participantes, de registros em diário de campo, de entrevistas e de análise de documentos como opções teórico-metodológicas, desenvolvi uma pesquisa narrativa com a qual construí e aprofundei conhecimentos sobre as interpretações e sentidos conferidos à docência em EF na perspectiva de oito estudantes de EF da ESEFID/UFRGS – colaboradores O processo analítico e interpretativo dos argumentos e das narrativas dos colaboradores apontou para determinados eventos que, no percurso formativo dos estudantes, podem ser entendidos como aqueles com potencial para influenciar a produção de sentidos à docência em EF. Constituí três blocos interpretativos para olhar para esses eventos: a) O potencial das experiências anteriores à FI na produção de sentidos sobre a docência em EF; b) O potencial do estágio na produção de sentidos à docência em EF; c) Os limites e possibilidades do estágio na produção de sentidos à docência em EF: nexos com a produção curricular. No interior de cada bloco interpretativo foi possível perceber que são múltiplos os sentidos atribuídos à docência, e também são múltiplos os eventos e experiências que, no decorrer do processo formativo, possuem capacidade para influenciar a produção e/ou alteração de sentidos para a docência em EF. As narrativas dos colaboradores apontam para algumas experiências que parecem ter sido mais significativas: as experiências discentes, com distintas possibilidades de docência em EF à época da Educação Básica, e a influência das ideias e sentidos atribuídos por grupos de referência no âmbito da cultura; a experiência docente propiciada pelo estágio, assumindo este uma posição “luciferiana”, no ensejo de elucidar as possibilidades e os limites da docência enquanto criação humana; e a organização curricular do curso em EF experienciada, pela qual parece-me que a produção de sentidos à docência está relacionada à capacidade das disciplinas curriculares em apontar respostas às demandas e limites que cada estudante vai identificando na experiência docente propiciada pelo estágio É possível pensar que a organização curricular, ao destinar espaços e tempos para eventos que favorecem a apresentação e discussão de outras (novas) formas de enxergar a docência em EF, possibilita aos estudantes dessa instituição formadora desvelar outros sentidos em relação a esse ofício. / In this thesis, I try to identify and to understand how Physical Education (PE) students from the Physical Education, Physiotherapy and Dance School of the Federal University of Rio Grande do Sul (ESEFID/UFRGS) attribute senses to teaching and how the supervised academic training affect the production and alteration of such senses. The choice of the theme takes place from a “review” on my own educational process, more specifically speaking, by recognizing the place that certain events, experiences and persons have occupied and through which it was possible to understand teaching from other senses: as a priority, from its educational sense, in the search to overcome the exclusivity of the sense that features a technical and instrumental rationality. Therefore, considering that the senses we assign to certain phenomena in the world are somehow related to the way how we experience and interpret such phenomena; and, that within the Initial Education (IE) in PE, the practice comprises a privileged space/time as to the presentation of other possibilities of viewing teaching, I have formulated the research problem as follows: which senses are attributed to teaching by the Physical Education students of ESEFID/UFRGS and how the supervised academic training affect the production/alteration of these senses? Guided by participative observations, records in field diary, interviews and analysis of documents as theoretical and methodological options, I have developed a narrative research that allowed me to build and to deepen the knowledge about the interpretations and senses assigned to PE teaching in the perspective of eight PE students from ESEFID/UFRGS – collaborators The analytical and interpretative process of the collaborators` arguments and narratives drew the attention to certain events that, over the students` educational path, can be understood as those with potential to influence the production of senses to PE teaching. I have built three interpretative blocks in order to look at these events: a) The potential of experiences previous to the IE in the production of senses about PE teaching; b) The practice potential in the production of senses to PE teaching; c) The practice limits and possibilities in the production of senses to PE teaching: links with the academic production. Within each interpretative block, it was possible to perceive that the senses assigned to teaching are multiple and that events and experiences over the path of the education process that have the capacity to influence the production and/or alteration of senses for PE teaching are also multiple. The collaborators` narratives point to some experiences that seem to have been more significant: learning experiences with distinct teaching possibilities in PE at the time of the Basic Education as well as the influence of ideas and senses assigned by reference groups in the realm of culture; the teaching experience provided by the practice which takes over a “luciferian” position with the objective of clarifying the possibilities and the limits of teaching as a human creation; and the academic organization of the PE experienced course whereby it seems to me that the production of senses to teaching is related to the capacity of the academic disciplines to provide responses to the demands and limits that each student identify in the teaching experience provided by the practice When the academic organization allocates spaces and time for events that benefit the presentation, discussion and other (new) forms of viewing PE teaching, one can think that it renders possible to the students of this educational institution to unveil other senses regarding this professional activity. / En esta tesis busco identificar y comprender cómo los estudiantes de Educación Física (EF) de la Escuela de Educación Física, Fisioterapia y Danza de la Universidad Federal del Rio Grande do Sul (ESEFID/UFRGS) atribuyen sentidos a la docencia y cómo la práctica académica supervisada influye en la producción y en la alteración de estos sentidos. La escogencia de la temática ocurre desde una “mirada” sobre mi propio proceso de formación y más específicamente al reconocimiento del lugar que ocuparon determinados sucesos, experimentos y personas a partir de los cuales fue posible comprender la docencia a través de otros sentidos: prioritariamente en su sentido de formación, buscando superar la exclusividad del sentido enmarcado por la racionalidad técnica e instrumental. Así, suponiendo que los sentidos que atribuimos a determinados fenómenos en el mundo están, de algún modo, relacionados a la manera con que experimentamos e interpretamos estos fenómenos; y que, al interior de la Formación Inicial (FI) en EF, la práctica se constituye en espacio/tiempo privilegiado en cuanto a la presentación de otras posibilidades de lectura de la docencia, he formulado el problema de investigación: ¿qué sentidos atribuyen, a la docencia, los estudiantes de Educación Física de la ESEFID/UFRGS y cómo la práctica académica supervisada influye en la producción y alteración de estos sentidos? Sirviéndome de observaciones participantes, de registros en diario de campo, de entrevistas y de análisis de documentos como opciones teóricas y metodológicas, desarrollé una investigación narrativa con la cual construí y profundicé conocimientos acerca de las interpretaciones y los sentidos conferidos a la docencia en EF desde el punto de vista de ocho estudiantes de EF de la ESEFID/UFRGS – colaboradores El proceso analítico e interpretativo de los argumentos y de las narrativas de los colaboradores apuntó para determinados sucesos que, en el recorrido de la formación de los estudiantes, pueden ser entendidos como aquellos con potencial para influir en la producción de sentidos a la docencia en EF. He constituido tres bloques interpretativos para darle una mirada a estos sucesos: a) El potencial de los experimentos anteriores a la FI en la producción de sentidos acerca de la docencia en EF; b) El potencial de la práctica en la producción de sentidos a la docencia en EF; c) Los límites y posibilidades de la práctica en la producción de sentidos a la docencia en EF: nexos con la producción curricular. Al interior de cada bloque interpretativo fue posible percibir que son múltiples los sentidos atribuidos a la docencia, así como son múltiples los sucesos y experimentos que, en el curso del proceso de formación, tienen capacidad de influir en la producción y/o alteración de sentidos para la docencia en EF. Las narrativas de los colaboradores apuntan para algunos experimentos que parecen haber sido los más significativos: los experimentos discentes, con distintas posibilidades de docencia en EF a la época de la Educación Básica, y la influencia de las ideas y sentidos atribuidos por grupos de referencia en el ámbito de la cultura; el experimento docente propiciado por la práctica, asumiendo ésta una posición “luciferiana”, con el objetivo de aclarar las posibilidades y los límites de la docencia como creación humana; y la experimentada organización curricular del curso en EF por la cual, paréceme, que la producción de sentidos a la docencia está relacionada con la capacidad de las disciplinas curriculares en apuntar respuestas a las demandas y a los límites que cada estudiante identifica en el experimento docente ofrecido por la práctica Es posible pensar que la organización curricular, al destinar espacios y tiempos para sucesos que favorecen la presentación y discusión de otras (nuevas) formas de ver la docencia en EF, posibilita a los estudiantes de esa institución formadora desvelar otros sentidos en relación con este ofi

This research investigate the use of Moodle in the degree in Physics on-line at UAB/UFAL understanding that this space offers the construction of ideas, through interaction between professors, tutors on-line and students, using the tools offered in the ambient. There was in investigation on how the interfaces offered in the Moodle to the specific classes of the degree in Physics on-line at UAB/UFAL were utilized by professors, tutors on-line and students helping the process of teaching and learning. The objectives of the research were to analyze the specificity of each class in the utilization of different tools, investigating the domain of the tools available in Moodle through professors, to increase the dynamics of the course, to analyze the dynamic of the use of the tools by students and tutor on-line in the utilization of the built acknowledge, both individual and in group. Also, to describe different ways that offer efficient planning, and changing in posture and attitude to the postage of tools and activities on AVA. It was utilized the fundaments in theory about the utilization of AVA from studies from Silva (2003), Santos (2003), Almeida (2003), Schlemmer (2002), Pereira (2007), Kenski (2003) and Okada (2003). The research was characterized by a study in the case of a qualitative approach. The data was collected through semi-structured interviews, essays to professors, to tutors on-line and to students and to participative observation in the Moodle. To the universe of the research, I selected 54 people as a study group during the two semesters of the course in the year of 2008.1 in classes offered, but 38 of them were students who were present during the research in Maceio, Santana do Ipanema and Olho DÁgua das Flores, 8 professors and 8 tutors on-line. As a result, it was discovered that they had few gaps: difficult in access the platform, professors with difficulties to form the class in the environment, offer class material to the students, the use of the tools, a lack of interaction and intervention of professors and tutors on-line before the questions imposed by students and a limited autonomy in the search of their own acknowledge. But, I could see an eager and constant search to improve acknowledge in the practice to utilize Moodle in their classes. This happened because professors, tutors on-line and students were available to a systematic monitoring and an adequate instruction based on support, dialogue and collaboration. / Esta pesquisa investiga a utilização do Moodle no curso de Licenciatura em Física a distância da UAB/UFAL como espaço que propicia a construção de conceitos, por meio da interação entre professores, tutores online e alunos, a partir das interfaces disponibilizadas no ambiente. Investigou-se como as interfaces disponibilizadas no Moodle para as disciplinas específicas do curso de Licenciatura em Física a distância da UAB/UFAL foram utilizadas pelos professores, tutores online e alunos no auxílio ao processo de ensino e de aprendizagem. Os objetivos da pesquisa foram analisar a especificidade de cada disciplina do curso na utilização de interfaces diferentes, investigar o domínio das interfaces disponibilizadas no Moodle pelos professores, para potencializar a dinâmica do curso, analisar a dinâmica de utilização das interfaces pelo aluno e tutor online na elaboração e construção do conhecimento, tanto individual como em grupo, e descrever alternativas que possibilitem um planejamento eficaz e uma mudança de postura e atitude quanto à postagem de interfaces e atividades no AVA. Utilizou-se a fundamentação teórica sobre AVA a partir dos estudos de Silva (2003), Santos (2003), Almeida (2003), Schlemmer (2002), Pereira (2007), Kenski (2003) e Okada (2003). A pesquisa caracterizou-se como um estudo de caso numa abordagem qualitativa. Os dados foram coletados através das entrevistas semiestruturadas, questionários para professores, para tutores online e para os alunos e da observação no Moodle. Para o universo da pesquisa foram selecionados 54 sujeitos como grupo para estudo dos dois primeiros semestres do curso no ano letivo de 2007.2 e 2008.1 nas disciplinas ofertadas, dos quais 38 foram alunos que estavam presentes para realização da pesquisa nos polos de Maceió, Santana do Ipanema e Olho d‟Água das Flores, 8 professores de disciplinas e 8 tutores online. Como resultado, foi constatado que os sujeitos apresentaram algumas lacunas: dificuldade de acesso à plataforma, professores com dificuldades em montar a disciplina no ambiente, disponibilizar o material didático para os alunos, o manuseio nas interfaces, as poucas interações e intervenções dos professores e tutores online mediante os questionamentos e dúvidas dos alunos e uma autonomia ainda limitada na busca constante do seu próprio conhecimento. O desejo por uma melhor prática na utilização do Moodle no curso pôde ser constatado, pelo fato de professores, tutores online e alunos estarem à disposição para um acompanhamento sistemático e uma formação adequada, baseada no apoio, no diálogo e na colaboração.

Nesta tese procuro identificar e compreender de que modo os estudantes de Educação Física (EF) da Escola de Educação Física, Fisioterapia e Dança da Universidade Federal do Rio Grande do Sul (ESEFID/UFRGS) atribuem sentidos à docência, e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos. A escolha da temática ocorre a partir de um “olhar” lançado sobre meu próprio processo formativo. Especificamente, ao reconhecimento do lugar que ocuparam determinados eventos, experiências e pessoas, a partir dos quais foi possível compreender a docência por outros sentidos: prioritariamente em seu sentido formativo, procurando superar a exclusividade do sentido pautado por uma racionalidade técnica e instrumental. Assim, partindo do pressuposto de que os sentidos que atribuímos a determinados fenômenos no mundo estão, de algum modo, relacionados à maneira com que experienciamos e interpretamos esses fenômenos; e que, no interior da Formação Inicial (FI) em EF, o estágio se constitui em espaço/tempo privilegiado quanto à apresentação de outras possibilidades de leitura da docência, formulei o problema de pesquisa: que sentidos são atribuídos à docência pelos estudantes de Educação Física da ESEFID/UFRGS e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos? Servindo-me de observações participantes, de registros em diário de campo, de entrevistas e de análise de documentos como opções teórico-metodológicas, desenvolvi uma pesquisa narrativa com a qual construí e aprofundei conhecimentos sobre as interpretações e sentidos conferidos à docência em EF na perspectiva de oito estudantes de EF da ESEFID/UFRGS – colaboradores O processo analítico e interpretativo dos argumentos e das narrativas dos colaboradores apontou para determinados eventos que, no percurso formativo dos estudantes, podem ser entendidos como aqueles com potencial para influenciar a produção de sentidos à docência em EF. Constituí três blocos interpretativos para olhar para esses eventos: a) O potencial das experiências anteriores à FI na produção de sentidos sobre a docência em EF; b) O potencial do estágio na produção de sentidos à docência em EF; c) Os limites e possibilidades do estágio na produção de sentidos à docência em EF: nexos com a produção curricular. No interior de cada bloco interpretativo foi possível perceber que são múltiplos os sentidos atribuídos à docência, e também são múltiplos os eventos e experiências que, no decorrer do processo formativo, possuem capacidade para influenciar a produção e/ou alteração de sentidos para a docência em EF. As narrativas dos colaboradores apontam para algumas experiências que parecem ter sido mais significativas: as experiências discentes, com distintas possibilidades de docência em EF à época da Educação Básica, e a influência das ideias e sentidos atribuídos por grupos de referência no âmbito da cultura; a experiência docente propiciada pelo estágio, assumindo este uma posição “luciferiana”, no ensejo de elucidar as possibilidades e os limites da docência enquanto criação humana; e a organização curricular do curso em EF experienciada, pela qual parece-me que a produção de sentidos à docência está relacionada à capacidade das disciplinas curriculares em apontar respostas às demandas e limites que cada estudante vai identificando na experiência docente propiciada pelo estágio É possível pensar que a organização curricular, ao destinar espaços e tempos para eventos que favorecem a apresentação e discussão de outras (novas) formas de enxergar a docência em EF, possibilita aos estudantes dessa instituição formadora desvelar outros sentidos em relação a esse ofício. / In this thesis, I try to identify and to understand how Physical Education (PE) students from the Physical Education, Physiotherapy and Dance School of the Federal University of Rio Grande do Sul (ESEFID/UFRGS) attribute senses to teaching and how the supervised academic training affect the production and alteration of such senses. The choice of the theme takes place from a “review” on my own educational process, more specifically speaking, by recognizing the place that certain events, experiences and persons have occupied and through which it was possible to understand teaching from other senses: as a priority, from its educational sense, in the search to overcome the exclusivity of the sense that features a technical and instrumental rationality. Therefore, considering that the senses we assign to certain phenomena in the world are somehow related to the way how we experience and interpret such phenomena; and, that within the Initial Education (IE) in PE, the practice comprises a privileged space/time as to the presentation of other possibilities of viewing teaching, I have formulated the research problem as follows: which senses are attributed to teaching by the Physical Education students of ESEFID/UFRGS and how the supervised academic training affect the production/alteration of these senses? Guided by participative observations, records in field diary, interviews and analysis of documents as theoretical and methodological options, I have developed a narrative research that allowed me to build and to deepen the knowledge about the interpretations and senses assigned to PE teaching in the perspective of eight PE students from ESEFID/UFRGS – collaborators The analytical and interpretative process of the collaborators` arguments and narratives drew the attention to certain events that, over the students` educational path, can be understood as those with potential to influence the production of senses to PE teaching. I have built three interpretative blocks in order to look at these events: a) The potential of experiences previous to the IE in the production of senses about PE teaching; b) The practice potential in the production of senses to PE teaching; c) The practice limits and possibilities in the production of senses to PE teaching: links with the academic production. Within each interpretative block, it was possible to perceive that the senses assigned to teaching are multiple and that events and experiences over the path of the education process that have the capacity to influence the production and/or alteration of senses for PE teaching are also multiple. The collaborators` narratives point to some experiences that seem to have been more significant: learning experiences with distinct teaching possibilities in PE at the time of the Basic Education as well as the influence of ideas and senses assigned by reference groups in the realm of culture; the teaching experience provided by the practice which takes over a “luciferian” position with the objective of clarifying the possibilities and the limits of teaching as a human creation; and the academic organization of the PE experienced course whereby it seems to me that the production of senses to teaching is related to the capacity of the academic disciplines to provide responses to the demands and limits that each student identify in the teaching experience provided by the practice When the academic organization allocates spaces and time for events that benefit the presentation, discussion and other (new) forms of viewing PE teaching, one can think that it renders possible to the students of this educational institution to unveil other senses regarding this professional activity. / En esta tesis busco identificar y comprender cómo los estudiantes de Educación Física (EF) de la Escuela de Educación Física, Fisioterapia y Danza de la Universidad Federal del Rio Grande do Sul (ESEFID/UFRGS) atribuyen sentidos a la docencia y cómo la práctica académica supervisada influye en la producción y en la alteración de estos sentidos. La escogencia de la temática ocurre desde una “mirada” sobre mi propio proceso de formación y más específicamente al reconocimiento del lugar que ocuparon determinados sucesos, experimentos y personas a partir de los cuales fue posible comprender la docencia a través de otros sentidos: prioritariamente en su sentido de formación, buscando superar la exclusividad del sentido enmarcado por la racionalidad técnica e instrumental. Así, suponiendo que los sentidos que atribuimos a determinados fenómenos en el mundo están, de algún modo, relacionados a la manera con que experimentamos e interpretamos estos fenómenos; y que, al interior de la Formación Inicial (FI) en EF, la práctica se constituye en espacio/tiempo privilegiado en cuanto a la presentación de otras posibilidades de lectura de la docencia, he formulado el problema de investigación: ¿qué sentidos atribuyen, a la docencia, los estudiantes de Educación Física de la ESEFID/UFRGS y cómo la práctica académica supervisada influye en la producción y alteración de estos sentidos? Sirviéndome de observaciones participantes, de registros en diario de campo, de entrevistas y de análisis de documentos como opciones teóricas y metodológicas, desarrollé una investigación narrativa con la cual construí y profundicé conocimientos acerca de las interpretaciones y los sentidos conferidos a la docencia en EF desde el punto de vista de ocho estudiantes de EF de la ESEFID/UFRGS – colaboradores El proceso analítico e interpretativo de los argumentos y de las narrativas de los colaboradores apuntó para determinados sucesos que, en el recorrido de la formación de los estudiantes, pueden ser entendidos como aquellos con potencial para influir en la producción de sentidos a la docencia en EF. He constituido tres bloques interpretativos para darle una mirada a estos sucesos: a) El potencial de los experimentos anteriores a la FI en la producción de sentidos acerca de la docencia en EF; b) El potencial de la práctica en la producción de sentidos a la docencia en EF; c) Los límites y posibilidades de la práctica en la producción de sentidos a la docencia en EF: nexos con la producción curricular. Al interior de cada bloque interpretativo fue posible percibir que son múltiples los sentidos atribuidos a la docencia, así como son múltiples los sucesos y experimentos que, en el curso del proceso de formación, tienen capacidad de influir en la producción y/o alteración de sentidos para la docencia en EF. Las narrativas de los colaboradores apuntan para algunos experimentos que parecen haber sido los más significativos: los experimentos discentes, con distintas posibilidades de docencia en EF a la época de la Educación Básica, y la influencia de las ideas y sentidos atribuidos por grupos de referencia en el ámbito de la cultura; el experimento docente propiciado por la práctica, asumiendo ésta una posición “luciferiana”, con el objetivo de aclarar las posibilidades y los límites de la docencia como creación humana; y la experimentada organización curricular del curso en EF por la cual, paréceme, que la producción de sentidos a la docencia está relacionada con la capacidad de las disciplinas curriculares en apuntar respuestas a las demandas y a los límites que cada estudiante identifica en el experimento docente ofrecido por la práctica Es posible pensar que la organización curricular, al destinar espacios y tiempos para sucesos que favorecen la presentación y discusión de otras (nuevas) formas de ver la docencia en EF, posibilita a los estudiantes de esa institución formadora desvelar otros sentidos en relación con este ofi

Nesta tese procuro identificar e compreender de que modo os estudantes de Educação Física (EF) da Escola de Educação Física, Fisioterapia e Dança da Universidade Federal do Rio Grande do Sul (ESEFID/UFRGS) atribuem sentidos à docência, e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos. A escolha da temática ocorre a partir de um “olhar” lançado sobre meu próprio processo formativo. Especificamente, ao reconhecimento do lugar que ocuparam determinados eventos, experiências e pessoas, a partir dos quais foi possível compreender a docência por outros sentidos: prioritariamente em seu sentido formativo, procurando superar a exclusividade do sentido pautado por uma racionalidade técnica e instrumental. Assim, partindo do pressuposto de que os sentidos que atribuímos a determinados fenômenos no mundo estão, de algum modo, relacionados à maneira com que experienciamos e interpretamos esses fenômenos; e que, no interior da Formação Inicial (FI) em EF, o estágio se constitui em espaço/tempo privilegiado quanto à apresentação de outras possibilidades de leitura da docência, formulei o problema de pesquisa: que sentidos são atribuídos à docência pelos estudantes de Educação Física da ESEFID/UFRGS e como o estágio curricular supervisionado influencia a produção/alteração desses sentidos? Servindo-me de observações participantes, de registros em diário de campo, de entrevistas e de análise de documentos como opções teórico-metodológicas, desenvolvi uma pesquisa narrativa com a qual construí e aprofundei conhecimentos sobre as interpretações e sentidos conferidos à docência em EF na perspectiva de oito estudantes de EF da ESEFID/UFRGS – colaboradores O processo analítico e interpretativo dos argumentos e das narrativas dos colaboradores apontou para determinados eventos que, no percurso formativo dos estudantes, podem ser entendidos como aqueles com potencial para influenciar a produção de sentidos à docência em EF. Constituí três blocos interpretativos para olhar para esses eventos: a) O potencial das experiências anteriores à FI na produção de sentidos sobre a docência em EF; b) O potencial do estágio na produção de sentidos à docência em EF; c) Os limites e possibilidades do estágio na produção de sentidos à docência em EF: nexos com a produção curricular. No interior de cada bloco interpretativo foi possível perceber que são múltiplos os sentidos atribuídos à docência, e também são múltiplos os eventos e experiências que, no decorrer do processo formativo, possuem capacidade para influenciar a produção e/ou alteração de sentidos para a docência em EF. As narrativas dos colaboradores apontam para algumas experiências que parecem ter sido mais significativas: as experiências discentes, com distintas possibilidades de docência em EF à época da Educação Básica, e a influência das ideias e sentidos atribuídos por grupos de referência no âmbito da cultura; a experiência docente propiciada pelo estágio, assumindo este uma posição “luciferiana”, no ensejo de elucidar as possibilidades e os limites da docência enquanto criação humana; e a organização curricular do curso em EF experienciada, pela qual parece-me que a produção de sentidos à docência está relacionada à capacidade das disciplinas curriculares em apontar respostas às demandas e limites que cada estudante vai identificando na experiência docente propiciada pelo estágio É possível pensar que a organização curricular, ao destinar espaços e tempos para eventos que favorecem a apresentação e discussão de outras (novas) formas de enxergar a docência em EF, possibilita aos estudantes dessa instituição formadora desvelar outros sentidos em relação a esse ofício. / In this thesis, I try to identify and to understand how Physical Education (PE) students from the Physical Education, Physiotherapy and Dance School of the Federal University of Rio Grande do Sul (ESEFID/UFRGS) attribute senses to teaching and how the supervised academic training affect the production and alteration of such senses. The choice of the theme takes place from a “review” on my own educational process, more specifically speaking, by recognizing the place that certain events, experiences and persons have occupied and through which it was possible to understand teaching from other senses: as a priority, from its educational sense, in the search to overcome the exclusivity of the sense that features a technical and instrumental rationality. Therefore, considering that the senses we assign to certain phenomena in the world are somehow related to the way how we experience and interpret such phenomena; and, that within the Initial Education (IE) in PE, the practice comprises a privileged space/time as to the presentation of other possibilities of viewing teaching, I have formulated the research problem as follows: which senses are attributed to teaching by the Physical Education students of ESEFID/UFRGS and how the supervised academic training affect the production/alteration of these senses? Guided by participative observations, records in field diary, interviews and analysis of documents as theoretical and methodological options, I have developed a narrative research that allowed me to build and to deepen the knowledge about the interpretations and senses assigned to PE teaching in the perspective of eight PE students from ESEFID/UFRGS – collaborators The analytical and interpretative process of the collaborators` arguments and narratives drew the attention to certain events that, over the students` educational path, can be understood as those with potential to influence the production of senses to PE teaching. I have built three interpretative blocks in order to look at these events: a) The potential of experiences previous to the IE in the production of senses about PE teaching; b) The practice potential in the production of senses to PE teaching; c) The practice limits and possibilities in the production of senses to PE teaching: links with the academic production. Within each interpretative block, it was possible to perceive that the senses assigned to teaching are multiple and that events and experiences over the path of the education process that have the capacity to influence the production and/or alteration of senses for PE teaching are also multiple. The collaborators` narratives point to some experiences that seem to have been more significant: learning experiences with distinct teaching possibilities in PE at the time of the Basic Education as well as the influence of ideas and senses assigned by reference groups in the realm of culture; the teaching experience provided by the practice which takes over a “luciferian” position with the objective of clarifying the possibilities and the limits of teaching as a human creation; and the academic organization of the PE experienced course whereby it seems to me that the production of senses to teaching is related to the capacity of the academic disciplines to provide responses to the demands and limits that each student identify in the teaching experience provided by the practice When the academic organization allocates spaces and time for events that benefit the presentation, discussion and other (new) forms of viewing PE teaching, one can think that it renders possible to the students of this educational institution to unveil other senses regarding this professional activity. / En esta tesis busco identificar y comprender cómo los estudiantes de Educación Física (EF) de la Escuela de Educación Física, Fisioterapia y Danza de la Universidad Federal del Rio Grande do Sul (ESEFID/UFRGS) atribuyen sentidos a la docencia y cómo la práctica académica supervisada influye en la producción y en la alteración de estos sentidos. La escogencia de la temática ocurre desde una “mirada” sobre mi propio proceso de formación y más específicamente al reconocimiento del lugar que ocuparon determinados sucesos, experimentos y personas a partir de los cuales fue posible comprender la docencia a través de otros sentidos: prioritariamente en su sentido de formación, buscando superar la exclusividad del sentido enmarcado por la racionalidad técnica e instrumental. Así, suponiendo que los sentidos que atribuimos a determinados fenómenos en el mundo están, de algún modo, relacionados a la manera con que experimentamos e interpretamos estos fenómenos; y que, al interior de la Formación Inicial (FI) en EF, la práctica se constituye en espacio/tiempo privilegiado en cuanto a la presentación de otras posibilidades de lectura de la docencia, he formulado el problema de investigación: ¿qué sentidos atribuyen, a la docencia, los estudiantes de Educación Física de la ESEFID/UFRGS y cómo la práctica académica supervisada influye en la producción y alteración de estos sentidos? Sirviéndome de observaciones participantes, de registros en diario de campo, de entrevistas y de análisis de documentos como opciones teóricas y metodológicas, desarrollé una investigación narrativa con la cual construí y profundicé conocimientos acerca de las interpretaciones y los sentidos conferidos a la docencia en EF desde el punto de vista de ocho estudiantes de EF de la ESEFID/UFRGS – colaboradores El proceso analítico e interpretativo de los argumentos y de las narrativas de los colaboradores apuntó para determinados sucesos que, en el recorrido de la formación de los estudiantes, pueden ser entendidos como aquellos con potencial para influir en la producción de sentidos a la docencia en EF. He constituido tres bloques interpretativos para darle una mirada a estos sucesos: a) El potencial de los experimentos anteriores a la FI en la producción de sentidos acerca de la docencia en EF; b) El potencial de la práctica en la producción de sentidos a la docencia en EF; c) Los límites y posibilidades de la práctica en la producción de sentidos a la docencia en EF: nexos con la producción curricular. Al interior de cada bloque interpretativo fue posible percibir que son múltiples los sentidos atribuidos a la docencia, así como son múltiples los sucesos y experimentos que, en el curso del proceso de formación, tienen capacidad de influir en la producción y/o alteración de sentidos para la docencia en EF. Las narrativas de los colaboradores apuntan para algunos experimentos que parecen haber sido los más significativos: los experimentos discentes, con distintas posibilidades de docencia en EF a la época de la Educación Básica, y la influencia de las ideas y sentidos atribuidos por grupos de referencia en el ámbito de la cultura; el experimento docente propiciado por la práctica, asumiendo ésta una posición “luciferiana”, con el objetivo de aclarar las posibilidades y los límites de la docencia como creación humana; y la experimentada organización curricular del curso en EF por la cual, paréceme, que la producción de sentidos a la docencia está relacionada con la capacidad de las disciplinas curriculares en apuntar respuestas a las demandas y a los límites que cada estudiante identifica en el experimento docente ofrecido por la práctica Es posible pensar que la organización curricular, al destinar espacios y tiempos para sucesos que favorecen la presentación y discusión de otras (nuevas) formas de ver la docencia en EF, posibilita a los estudiantes de esa institución formadora desvelar otros sentidos en relación con este ofi

In Brazil, the education was one of the first camps for professional performance of the psychologist, when these began to come out of clinical practices and crept in institutional spaces, including schools. This insertion was characterized initially by developing traditional clinical practice, whose interventions were targeted to students and, subsequently, demarcated by critical propositions which pointed to the need for a job were the school dynamics, the educational process and social interactions were the objects of intervention, taking into account the educational, cultural, social aspects, historical and institutional in the understanding of the issues. Still, among the issues related to that insertion, the education is one of the main problems, due to the fact the school and area educational be considerably neglected us undergraduate courses in psychology, not being offered, generally, subsidies and knowledge necessary for a proper practice to school context. Due to these issues the present study aimed to know the role of the psychologist in the context of basic education in the State of Sergipe, seeking to analyse the relationship between the professional performance of these with his academic training, in addition to profiling the professional school psychologists; investigate the factors that motivated the choice of this area of performance; analyze the existing conceptions about the role of the psychologist in the school context; analyze the interventions carried out; and to meet how psychologists evaluate the contributions of his academic training for your performance in education. This research had a qualitative approach, being held with 14 psychologists who work in schools or Secretariats of education in the State of Sergipe. For the collection of data was conducted semi-structured interviews, whose collected data were processed and analyzed according to Bardin's content analysis, with all due respect to the ethical standards of research. From the analysis it was possible to trace a characterization of psychologists participants, these being predominantly female, which in their majority (78.5%) work for less than four years in this area. In addition, it was found the existence of two types of conceptions concerning the role of the school psychologist, the limiting character (clinical role and problem resolver) and the facilitator character (role of partner and collaborator) to professional performance. In relation to formation was observed that 42% of psychologists evaluate positively the academic training received, claiming to have been prepared to act in the school context. Still, the models of performance identified demonstrate the existence of an initial transition from traditional practices for interventions of critical character, being a large part of these developed under the conception that the educational issues are products of social interactions that occur during the schooling process and should be directed to the various components of the institution. Finally, from the analysis, it is concluded that despite being a recent field in Sergipe, is possible to realize progress in the form of insert and conceive the role of the psychologist in the school and educational context. / No Brasil, a Educação constituiu-se como um dos primeiros campos para atuação profissional do psicólogo, quando estes começaram a sair dos consultórios clínicos e se inseriram nos espaços institucionais, incluindo as escolas. Essa inserção foi caracterizada, inicialmente, com o desenvolvimento de práticas clínicas tradicionais, cujas intervenções eram direcionadas aos alunos e, posteriormente, demarcada por proposições críticas que apontavam para a necessidade de um trabalho onde a dinâmica escolar, o processo educativo e as interações sociais fossem os objetos de intervenção, levando-se em conta os aspectos pedagógicos, culturais, sociais, institucionais e históricos na compreensão das questões educacionais. Ainda, dentre as questões relacionadas a essa inserção, a formação acadêmica constitui-se como uma das principais problemáticas, devido ao fato da área escolar e educacional ser consideravelmente negligenciada pelos cursos de graduação em Psicologia, não sendo oferecidos, geralmente, os subsídios e conhecimentos necessários para uma prática adequada ao contexto escolar. Contudo, após 50 anos de constituição deste campo de atuação, vê-se em alguns estados uma paulatina transformação das práticas tradicionais em práticas críticas. Nos últimos cinco anos, pesquisas no Brasil vêm sendo realizadas com o intuito de conhecer a realidade estadual dos psicólogos que trabalham nos contextos educacionais. Devido a essas questões o presente estudo teve por objetivo conhecer a atuação do psicólogo no contexto da educação básica no estado de Sergipe, buscando analisar a relação entre a atuação profissional destes com sua formação acadêmica, além de traçar um perfil profissional dos psicólogos escolares; investigar os fatores que motivaram a escolha dessa área de atuação; analisar as concepções existentes acerca do papel do psicólogo no contexto escolar; analisar as atividades desenvolvidas; e conhecer como os psicólogos avaliam as contribuições de sua formação acadêmica para sua atuação na educação. Esta pesquisa teve uma abordagem qualitativa, sendo realizada com 14 psicólogos que trabalham em escolas ou Secretarias de Educação do estado de Sergipe. Para a coleta dos dados foram realizadas entrevistas semiestruturadas, cujos dados recolhidos foram tratados e analisados segundo a análise de conteúdo de Bardin, com o devido respeito às normas éticas de pesquisa. A partir das análises foi possível traçar uma caracterização dos psicólogos participantes, sendo estes predominantemente do sexo feminino, os quais em sua maioria (78,5%) atuam a menos de quatro anos nessa área. Além disso, foi encontrada a existência de dois tipos de concepções referentes ao papel do psicólogo na escola, as de caráter limitante (papel clínico e de resolvedor de problemas) e as de caráter facilitador (papel de parceiro e colaborador) à atuação profissional. Em relação a formação foi observado que 42% dos psicólogos avaliam positivamente a formação acadêmica recebida, afirmando terem sido instrumentalizados para atuar no contexto escolar. Ainda, os modelos de atuação identificados demonstram a existência de uma inicial transição de práticas de cunho tradicional para intervenções de caráter crítico, sendo grande parte destas desenvolvidas sob a concepção de que as demandas educacionais são produtos das interações sociais que ocorrem durante o processo de escolarização e devem ser direcionadas aos diversos componentes da instituição. Por fim, a partir das análises, conclui-se que apesar de ser um campo de atuação recente em Sergipe, é possível perceber avanços na forma de inserir-se e conceber a atuação do psicólogo no contexto escolar e educacional.

Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel. / Cette thèse étudie les relations artistiques entre le Canada et la France à la fin du XIXe siècle et définit la place qu’occupe l’atelier libre qu’est l’Académie Julian dans le réseau artistique parisien, tout en privilégiant comme étude de cas le passage de ses élèves canadiens entre 1880 et 1900. Soucieux d’entreprendre une étude fouillée sur cette institution artistique et de revenir aux documents d’archives et autres témoignages, nous privilégions la voix des étudiants et des journalistes de l’époque pour décrire tant l’atmosphère que le fonctionnement de l’Académie Julian en précisant notamment les stratégies développées par Rodolphe Julian lui-même pour faire de cette école un lieu quasi incontournable pour qui veut suivre une formation artistique de qualité. La personnalité de Rodolphe Julian, tout comme celle de Marie Bashkirtseff – que nous percevons comme le porte-parole « visible » de l’Académie Julian – seront mises à l’avant-plan puisque, en plus des élèves eux-mêmes, ces deux personnes furent les véritables ambassadeurs promotionnels de l’établissement. Rodolphe Julian, entrepreneur hors norme, doit être étudié pour lui-même afin d’appréhender la complexité propre au personnage et de saisir pleinement l’originalité de son école. Notre étude se penchera sur l’homme et son établissement qui ont incité des générations d’étudiants, dont les peintres canadiens – amateurs curieux ou professionnels accomplis – à cumuler, en plus d’un savoir-faire technique acquis par leur formation dans cet établissement, des labels de promotion et de visibilité (prix, médailles, distinctions) favorables au plein épanouissement commercial d’une carrière artistique au Canada. L’art français est alors fort prisé par la classe dominante canadienne désireuse d’acquérir pour ses salons un portrait ou un paysage. En cela, l’acquisition d’un enseignement rigoureux basé sur l’étude de la composition et du modèle nu répondra à cette attente de la clientèle tout en ayant par la suite un impact direct dans les méthodes d’apprentissage offertes au pays. Un grand nombre des anciens élèves canadiens de l’Académie Julian chercheront par leur formation à propager et à implanter un système d’enseignement des arts similaire à celui acquis à l’Académie Julian, permettant ainsi à des générations d’artistes de bénéficier de leur expérience outre-Atlantique comme d’autres artistes-professeurs l’avaient fait avant eux. L’axe principal de la thèse repose sur l’idée selon laquelle l’éclatement progressif de la reconnaissance de l’École des beaux-arts au profit des ateliers privés transforme les prérequis à l’accès à la formation et présente, dans son lien à l’économie – dans le rapport art et industrie – l’artiste comme un entrepreneur qui adapte et développe son discours et sa production à la demande du marché. Au Canada, l’offre d’éducation technique et de formation professionnelle met de l’avant un modèle artistique français. En ce sens, le voyage qu’entreprennent les artistes en direction de la ville de Paris prend tout son sens comme destination d’étude et de labellisation du statut de l’artiste. En plus de faire l’histoire de l’Académie Julian et de son fondateur, Rodolphe Julian, l’objectif de cette thèse est de répertorier la présence des artistes canadiens dans cette école tout en soulignant l’apport qu’offre cette institution dans la reconnaissance de la formation artistique liée au système honorifique que l’école et ses professeurs parviennent à contrôler en favorisant leurs élèves au Salon. Pour atteindre notre objectif, nous privilégions une division en trois chapitres, reliés l’un à l’autre par une thématique commune, soit l’éducation artistique française. Dans la logique qu’impose le déplacement outre-Atlantique des peintres, le premier chapitre aborde cette question du point de vue canadien pour ensuite définir le contexte français. Dans cette première partie, nous présentons les structures à la disposition des artistes au Canada et nous précisons le réseau de formation disponible au XIXe siècle. Les figures clés que sont Napoléon Bourassa ainsi que l’abbé Joseph Chabert sont prises en exemple pour aborder la question de la formation artistique au pays où le modèle pédagogique français est utilisé. La commande du curé Sentenne pour la chapelle Notre-Dame du Sacré-Cœur de la basilique Notre-Dame de Montréal illustre la quasi-nécessité qu’ont les peintres canadiens de devoir faire le voyage en direction de Paris pour poursuivre leur formation artistique et permet de comprendre que le lieu de production est tout aussi important pour l’œuvre que pour l’artiste. À cette époque, la renommée de l’École des beaux-arts de la ville de Paris, avec la réforme de 1863, fait de cet établissement l’un des plus prestigieux du monde. Toutefois, malgré des efforts de restructuration, l’établissement reste en marge de son époque ce qui favorise l’essor des « Académies libres » dont la plus célèbre est l’Académie Julian. Le second chapitre est entièrement consacré à cette école et à son fondateur, présenté comme un homme d’affaires avisé et un petit maître de la peinture. Jusqu’alors reléguée au second plan par rapport à son Académie, l’étude du personnage permet de saisir l’originalité de son établissement lorsqu’il décide, entre autres, d’y accepter les femmes. Conscient du potentiel qu’offre son école – susceptible d’accueillir des artistes du monde entier – nous analysons les stratégies d’expansion et de promotion de l’Académie mises en place par Rodolphe Julian et nous nous attardons à l’utilisation du personnage de Marie Bashkirtseff pour atteindre ces deux objectifs. Le troisième chapitre définit pour sa part les motifs et la formation acquise auparavant qui incitent les peintres de notre corpus à vouloir poursuivre leur formation artistique à Paris, et plus particulièrement chez Julian. Le milieu socio-économique (et socio-linguistique, tous deux liés) et l’influence d’un maître de formation européenne apparaissent comme des facteurs propices à leur inscription à l’Académie Julian et c’est par les archives de l’école que nous mettons à jour les différents abonnements et le temps passé dans cet établissement par les peintres canadiens. Les inscriptions disponibles sur les fiches d’abonnement permettent – avec l’analyse de témoignages connexes – de définir le fonctionnement de cette institution de formation artistique. Ainsi, à partir de documents d’archives, le séjour parisien du peintre canadien Joseph Saint-Charles fait l’objet d’une étude de cas qui permet de relier l’artiste à l’Académie Julian, mais aussi de déterminer les stratégies qu’il met en place pour se faire reconnaître comme peintre professionnel, en France, mais aussi au Canada lorsque ses succès sont rapportés dans les journaux. Malgré la disparition des registres de l’école, nous abordons cependant la question des Canadiennes de passage à l’Académie Julian et soulignons les inégalités qui subsistent entre les sexes. Malgré certaines disparités, il n’en demeure pas moins que même pour la gent féminine, l’établissement se présente comme un tremplin d’insertion et de reconnaissance de la pratique artistique, que ce soit par l’acquisition d’un apprentissage académique traditionnel où prédomine la maîtrise du dessin ou par le fait d’obtenir la « correction » des maîtres consacrés de la peinture française. Bien qu’il faille reconnaître le fondement des critiques que rapportent les élèves sur leur passage à l’Académie Julian, nous remarquons que, pour la plupart, le but véritable de leur inscription vise à les préparer à leur future carrière comme artistes professionnels et leur permet d’obtenir la consécration qu’offre le fait d’être admis au Salon national des artistes français avec l’appui de l’école et de ses professeurs, qui orienteront ce que certains qualifieront de « produit Julian ». / This thesis examines the artistic relations between Canada and France at the end of the nineteenth century, and the legacy of the ‘ateliers libres’ of the Académie Julian within the Parisian arts network. Through a case study, it focuses on the experience of Canadian students at the institution between 1880 and 1900. A conscious desire to provide a detailed study of this art institution drawing upon its annals and various personal accounts underlies the recourse to testimonies by students and journalists of the time to describe the prevailing atmosphere at the Académie Julian as well as its general management, its origin, and the strategies adopted by Rodolphe Julian himself to shape his school into ‘the institution de rigueur’ for those who sought artistic training of the highest calibre. Along with the students themselves, the personality of Julian as well as that of Marie Bashkirtseff – considered to be the "visible" spokesperson of the Académie – are at the forefront of this research since these two individuals were the true ambassadors of the Académie. Rodolphe Julian, an exceptional entrepreneur, must be examined in his own right to provide an understanding of his complexity and to fully grasp the originality of his Académie. This research examines both the man and his school, which together enticed generations of students, including Canadian painters (curious amateurs and accomplished professionals alike) to acquire not only the technical know-how during their training at the Académie Julian but also earn accolades and awards (prizes, medals and distinctions) inextricably associated with a commercially successful artistic career in Canada. During that period, French art was highly valued by the dominant Canadian upper and middle classes eager to purchase portraits and landscapes to adorn their living rooms. Indeed, rigorous instruction based on the study of composition and nudes met students’ expectations and directly influenced training methods in their home country. As a result of their training, a large number of former Canadian students of the Académie Julian sought to perpetuate an art education system similar to that of the Académie Julian, thus enabling generations of artists to benefit from their transatlantic experiences as other artist-professors had done before them. The main thrust of this thesis is its contention that the progressive change in perception of the École des Beaux Arts towards recognition of the "ateliers privés" influenced training prerequisites, shifting the artist into an economic space, intertwining the arts with industry: the artist as entrepreneur capable of adapting and developing his discourse and production in response to market conditions. In Canada, the diversification of technical education and professional training favoured the French artistic model. For artists, studying in Paris was meaningful; it was also a means of enhancing their status. In addition to tracing the history of the Académie Julian and that of its founder, Rodolphe Julian, this thesis also seeks to identify the presence of Canadian artists in the Académie, and to highlight its contribution to the recognition of fine arts training and its interplay with the honorary system of the Salon, which the Académie and its instructors controlled, by favouring their students. This thesis comprises three chapters, each linked by an overarching theme: the French art education system. Defining the French artistic context from a Canadian perspective, Chapter 1 deals with painters who were compelled to cross the Atlantic. The first section outlines the training possibilities available to artists in Canada and the training network available to artists in the 19th century. In covering the topic of art education in a country where the French teaching model prevailed, key figures such as Napoléon Bourassa and Abbé Joseph Chabert, are cited. Curé Sentenne’s commission for Montréal’s Notre-Dame Sacré-Cœur chapel of the Notre-Dame Basilica illustrates the near necessity for Canadian painters to travel to Paris to pursue their artistic training and helps explain why the place of production was just as important for an artwork as it was for the artist. At that time the reputation of the École des Beaux-Arts in Paris, consolidated by the reform of 1863, made this establishment one of the most prestigious in the world. However despite restructuring efforts, the Académie remained out of touch with the times, and this favoured the rise of the ‘Académies libres’, the most famous of all being the Académie Julian. Chapter II is devoted entirely to the Académie Julian and its founder, an astute businessman and ‘petit maître de la peinture’. The study of the man himself, which has so far served as a backdrop to a more detailed study of the Académie reveals the innovative nature of his establishment particularly with regard to his decision to admit women to study in his studios. Aware of the prospects his school offered, he was willing to accommodate artists from all over the world. His strategies for the expansion of the Académie are analyzed as well as the role of Marie Bashkirtseff in this respect. Chapter III describes the motivations and preliminary apprenticeships, which encouraged the artists being studied here to pursue their education in Paris, specifically at the Académie Julian. The socio-economic context – perhaps the socio-linguistic as well, since they are interrelated – and the influence of a master of European training appear to be the deciding factors. The institution’s archives shed light on the registration of Canadian painters and the time they spent there. The entries in the records of the Académie along with various personal accounts make it possible to understand how this training institution was managed. Based on information retrieved from the archives, the time that Canadian painter Joseph Saint-Charles spent in Paris is used as a case study not only to link the artist to the Académie Julian but also to determine the strategies which enabled him to be recognized as a professional painter in France as well as in Canada where his successes were widely reported in the press. Although there is no record of Canadian women in the archives of the Académie Julian, their role is nevertheless analyzed, underlining the prevailing gender inequalities. In spite of certain disparities, for female artists the Academy nevertheless constituted a springboard for inclusion and recognition of their artistic practice, whether it was through acquiring a traditional academic apprenticeship where the mastery of drawing prevailed or by working “under the guiding hands” of acclaimed Masters of French painting. Although the validity of criticisms leveled by students against their school must be acknowledged, for most of them the real purpose of their enrolment was to prepare their future careers as professional artists, facilitate their rite of passage to the "Salon national des artistes français", thanks to the support of the Académie and its instructors, and be “emblazoned” with the ‘Julian trademark’.

Cette thèse étudie les relations artistiques entre le Canada et la France à la fin du XIXe siècle et définit la place qu’occupe l’atelier libre qu’est l’Académie Julian dans le réseau artistique parisien, tout en privilégiant comme étude de cas le passage de ses élèves canadiens entre 1880 et 1900. Soucieux d’entreprendre une étude fouillée sur cette institution artistique et de revenir aux documents d’archives et autres témoignages, nous privilégions la voix des étudiants et des journalistes de l’époque pour décrire tant l’atmosphère que le fonctionnement de l’Académie Julian en précisant notamment les stratégies développées par Rodolphe Julian lui-même pour faire de cette école un lieu quasi incontournable pour qui veut suivre une formation artistique de qualité. La personnalité de Rodolphe Julian, tout comme celle de Marie Bashkirtseff – que nous percevons comme le porte-parole « visible » de l’Académie Julian – seront mises à l’avant-plan puisque, en plus des élèves eux-mêmes, ces deux personnes furent les véritables ambassadeurs promotionnels de l’établissement. Rodolphe Julian, entrepreneur hors norme, doit être étudié pour lui-même afin d’appréhender la complexité propre au personnage et de saisir pleinement l’originalité de son école. Notre étude se penchera sur l’homme et son établissement qui ont incité des générations d’étudiants, dont les peintres canadiens – amateurs curieux ou professionnels accomplis – à cumuler, en plus d’un savoir-faire technique acquis par leur formation dans cet établissement, des labels de promotion et de visibilité (prix, médailles, distinctions) favorables au plein épanouissement commercial d’une carrière artistique au Canada. L’art français est alors fort prisé par la classe dominante canadienne désireuse d’acquérir pour ses salons un portrait ou un paysage. En cela, l’acquisition d’un enseignement rigoureux basé sur l’étude de la composition et du modèle nu répondra à cette attente de la clientèle tout en ayant par la suite un impact direct dans les méthodes d’apprentissage offertes au pays. Un grand nombre des anciens élèves canadiens de l’Académie Julian chercheront par leur formation à propager et à implanter un système d’enseignement des arts similaire à celui acquis à l’Académie Julian, permettant ainsi à des générations d’artistes de bénéficier de leur expérience outre-Atlantique comme d’autres artistes-professeurs l’avaient fait avant eux. L’axe principal de la thèse repose sur l’idée selon laquelle l’éclatement progressif de la reconnaissance de l’École des beaux-arts au profit des ateliers privés transforme les prérequis à l’accès à la formation et présente, dans son lien à l’économie – dans le rapport art et industrie – l’artiste comme un entrepreneur qui adapte et développe son discours et sa production à la demande du marché. Au Canada, l’offre d’éducation technique et de formation professionnelle met de l’avant un modèle artistique français. En ce sens, le voyage qu’entreprennent les artistes en direction de la ville de Paris prend tout son sens comme destination d’étude et de labellisation du statut de l’artiste. En plus de faire l’histoire de l’Académie Julian et de son fondateur, Rodolphe Julian, l’objectif de cette thèse est de répertorier la présence des artistes canadiens dans cette école tout en soulignant l’apport qu’offre cette institution dans la reconnaissance de la formation artistique liée au système honorifique que l’école et ses professeurs parviennent à contrôler en favorisant leurs élèves au Salon. Pour atteindre notre objectif, nous privilégions une division en trois chapitres, reliés l’un à l’autre par une thématique commune, soit l’éducation artistique française. Dans la logique qu’impose le déplacement outre-Atlantique des peintres, le premier chapitre aborde cette question du point de vue canadien pour ensuite définir le contexte français. Dans cette première partie, nous présentons les structures à la disposition des artistes au Canada et nous précisons le réseau de formation disponible au XIXe siècle. Les figures clés que sont Napoléon Bourassa ainsi que l’abbé Joseph Chabert sont prises en exemple pour aborder la question de la formation artistique au pays où le modèle pédagogique français est utilisé. La commande du curé Sentenne pour la chapelle Notre-Dame du Sacré-Cœur de la basilique Notre-Dame de Montréal illustre la quasi-nécessité qu’ont les peintres canadiens de devoir faire le voyage en direction de Paris pour poursuivre leur formation artistique et permet de comprendre que le lieu de production est tout aussi important pour l’œuvre que pour l’artiste. À cette époque, la renommée de l’École des beaux-arts de la ville de Paris, avec la réforme de 1863, fait de cet établissement l’un des plus prestigieux du monde. Toutefois, malgré des efforts de restructuration, l’établissement reste en marge de son époque ce qui favorise l’essor des « Académies libres » dont la plus célèbre est l’Académie Julian. Le second chapitre est entièrement consacré à cette école et à son fondateur, présenté comme un homme d’affaires avisé et un petit maître de la peinture. Jusqu’alors reléguée au second plan par rapport à son Académie, l’étude du personnage permet de saisir l’originalité de son établissement lorsqu’il décide, entre autres, d’y accepter les femmes. Conscient du potentiel qu’offre son école – susceptible d’accueillir des artistes du monde entier – nous analysons les stratégies d’expansion et de promotion de l’Académie mises en place par Rodolphe Julian et nous nous attardons à l’utilisation du personnage de Marie Bashkirtseff pour atteindre ces deux objectifs. Le troisième chapitre définit pour sa part les motifs et la formation acquise auparavant qui incitent les peintres de notre corpus à vouloir poursuivre leur formation artistique à Paris, et plus particulièrement chez Julian. Le milieu socio-économique (et socio-linguistique, tous deux liés) et l’influence d’un maître de formation européenne apparaissent comme des facteurs propices à leur inscription à l’Académie Julian et c’est par les archives de l’école que nous mettons à jour les différents abonnements et le temps passé dans cet établissement par les peintres canadiens. Les inscriptions disponibles sur les fiches d’abonnement permettent – avec l’analyse de témoignages connexes – de définir le fonctionnement de cette institution de formation artistique. Ainsi, à partir de documents d’archives, le séjour parisien du peintre canadien Joseph Saint-Charles fait l’objet d’une étude de cas qui permet de relier l’artiste à l’Académie Julian, mais aussi de déterminer les stratégies qu’il met en place pour se faire reconnaître comme peintre professionnel, en France, mais aussi au Canada lorsque ses succès sont rapportés dans les journaux. Malgré la disparition des registres de l’école, nous abordons cependant la question des Canadiennes de passage à l’Académie Julian et soulignons les inégalités qui subsistent entre les sexes. Malgré certaines disparités, il n’en demeure pas moins que même pour la gent féminine, l’établissement se présente comme un tremplin d’insertion et de reconnaissance de la pratique artistique, que ce soit par l’acquisition d’un apprentissage académique traditionnel où prédomine la maîtrise du dessin ou par le fait d’obtenir la « correction » des maîtres consacrés de la peinture française. Bien qu’il faille reconnaître le fondement des critiques que rapportent les élèves sur leur passage à l’Académie Julian, nous remarquons que, pour la plupart, le but véritable de leur inscription vise à les préparer à leur future carrière comme artistes professionnels et leur permet d’obtenir la consécration qu’offre le fait d’être admis au Salon national des artistes français avec l’appui de l’école et de ses professeurs, qui orienteront ce que certains qualifieront de « produit Julian ». / This thesis examines the artistic relations between Canada and France at the end of the nineteenth century, and the legacy of the ‘ateliers libres’ of the Académie Julian within the Parisian arts network. Through a case study, it focuses on the experience of Canadian students at the institution between 1880 and 1900. A conscious desire to provide a detailed study of this art institution drawing upon its annals and various personal accounts underlies the recourse to testimonies by students and journalists of the time to describe the prevailing atmosphere at the Académie Julian as well as its general management, its origin, and the strategies adopted by Rodolphe Julian himself to shape his school into ‘the institution de rigueur’ for those who sought artistic training of the highest calibre. Along with the students themselves, the personality of Julian as well as that of Marie Bashkirtseff – considered to be the "visible" spokesperson of the Académie – are at the forefront of this research since these two individuals were the true ambassadors of the Académie. Rodolphe Julian, an exceptional entrepreneur, must be examined in his own right to provide an understanding of his complexity and to fully grasp the originality of his Académie. This research examines both the man and his school, which together enticed generations of students, including Canadian painters (curious amateurs and accomplished professionals alike) to acquire not only the technical know-how during their training at the Académie Julian but also earn accolades and awards (prizes, medals and distinctions) inextricably associated with a commercially successful artistic career in Canada. During that period, French art was highly valued by the dominant Canadian upper and middle classes eager to purchase portraits and landscapes to adorn their living rooms. Indeed, rigorous instruction based on the study of composition and nudes met students’ expectations and directly influenced training methods in their home country. As a result of their training, a large number of former Canadian students of the Académie Julian sought to perpetuate an art education system similar to that of the Académie Julian, thus enabling generations of artists to benefit from their transatlantic experiences as other artist-professors had done before them. The main thrust of this thesis is its contention that the progressive change in perception of the École des Beaux Arts towards recognition of the "ateliers privés" influenced training prerequisites, shifting the artist into an economic space, intertwining the arts with industry: the artist as entrepreneur capable of adapting and developing his discourse and production in response to market conditions. In Canada, the diversification of technical education and professional training favoured the French artistic model. For artists, studying in Paris was meaningful; it was also a means of enhancing their status. In addition to tracing the history of the Académie Julian and that of its founder, Rodolphe Julian, this thesis also seeks to identify the presence of Canadian artists in the Académie, and to highlight its contribution to the recognition of fine arts training and its interplay with the honorary system of the Salon, which the Académie and its instructors controlled, by favouring their students. This thesis comprises three chapters, each linked by an overarching theme: the French art education system. Defining the French artistic context from a Canadian perspective, Chapter 1 deals with painters who were compelled to cross the Atlantic. The first section outlines the training possibilities available to artists in Canada and the training network available to artists in the 19th century. In covering the topic of art education in a country where the French teaching model prevailed, key figures such as Napoléon Bourassa and Abbé Joseph Chabert, are cited. Curé Sentenne’s commission for Montréal’s Notre-Dame Sacré-Cœur chapel of the Notre-Dame Basilica illustrates the near necessity for Canadian painters to travel to Paris to pursue their artistic training and helps explain why the place of production was just as important for an artwork as it was for the artist. At that time the reputation of the École des Beaux-Arts in Paris, consolidated by the reform of 1863, made this establishment one of the most prestigious in the world. However despite restructuring efforts, the Académie remained out of touch with the times, and this favoured the rise of the ‘Académies libres’, the most famous of all being the Académie Julian. Chapter II is devoted entirely to the Académie Julian and its founder, an astute businessman and ‘petit maître de la peinture’. The study of the man himself, which has so far served as a backdrop to a more detailed study of the Académie reveals the innovative nature of his establishment particularly with regard to his decision to admit women to study in his studios. Aware of the prospects his school offered, he was willing to accommodate artists from all over the world. His strategies for the expansion of the Académie are analyzed as well as the role of Marie Bashkirtseff in this respect. Chapter III describes the motivations and preliminary apprenticeships, which encouraged the artists being studied here to pursue their education in Paris, specifically at the Académie Julian. The socio-economic context – perhaps the socio-linguistic as well, since they are interrelated – and the influence of a master of European training appear to be the deciding factors. The institution’s archives shed light on the registration of Canadian painters and the time they spent there. The entries in the records of the Académie along with various personal accounts make it possible to understand how this training institution was managed. Based on information retrieved from the archives, the time that Canadian painter Joseph Saint-Charles spent in Paris is used as a case study not only to link the artist to the Académie Julian but also to determine the strategies which enabled him to be recognized as a professional painter in France as well as in Canada where his successes were widely reported in the press. Although there is no record of Canadian women in the archives of the Académie Julian, their role is nevertheless analyzed, underlining the prevailing gender inequalities. In spite of certain disparities, for female artists the Academy nevertheless constituted a springboard for inclusion and recognition of their artistic practice, whether it was through acquiring a traditional academic apprenticeship where the mastery of drawing prevailed or by working “under the guiding hands” of acclaimed Masters of French painting. Although the validity of criticisms leveled by students against their school must be acknowledged, for most of them the real purpose of their enrolment was to prepare their future careers as professional artists, facilitate their rite of passage to the "Salon national des artistes français", thanks to the support of the Académie and its instructors, and be “emblazoned” with the ‘Julian trademark’. / Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel.

Comment s'’institutionnalise dans la durée le statut du français comme langue d’'enseignement dans des formations universitaires en contexte non francophone ? L’'hypothèse principale est celle d’'une faible institutionnalisation du statut curriculaire du français en contexte non francophone, due notamment aux acteurs producteurs de la politique curriculaire universitaire, de moins en moins engagés dans un curriculum en français.L’'étude de l’'évolution de la politique curriculaire de l’'université Galatasaray - université créée en 1992 sur la base d’'un accord franco-turc - est envisagée selon une démarche qualitative et inductive, au moyen d’'une étude de cas élargie à d’'autres formations francophones, de moindre ampleur, mais créées à la même période au tournant des années 1980-1990 en Turquie et dans d’'autres pays d’Europe orientale. L’'étude s’'appuie sur un vaste corpus de données d’'archives et de données d’'entretiens. Les différents éléments recueillis sur plusieurs formations, permettent de mettre à jour des processus d’'institutionnalisation initiaux du statut du français communs à ces formations et à l’'université Galatasaray. Toutes sont représentatives d’'une période particulière, de courte durée, propice à un mouvement de création de formations universitaires francophones dans ces contextes globalement non francophones d’'Europe orientale.Dans la majorité des cas, à des degrés divers, vingt ans après, le statut du français apparaît d’autant plus instable que les réseaux d’'acteurs producteurs de la politique curriculaire universitaire sont faibles et que le statut du français est de moins en moins consensuel. / How does the status of the French language as the teaching language for the courses become institutionalized in academic training programs, within a non French-speaking context? The main assumption is that of a weak institutionalization of the curricular status of the French language in a non French-speaking context, due in particular to the players, who generate the academic curricular policy while being less and less committed to a curriculum in French.The study of the curricular policy evolution at Galatasaray University — a university created in 1992 on the basis of a franco-turkish agreement is —considered along the lines of a qualitative and inductive approach, by means of a case study extended to other training programs in French, of a lesser scope but created during the same era, at the turn of the 1980s-1990s in Turkey and in other Eastern Europe countries. The study relies on a vast corpus of archival data and interview-gathered data. The elements concerning the selected training programs enable us to bring to light some initial institutionalization processes of the status of the French language, that are common to these training programs and to Galatasaray University. All are representative of a particular era, of short lasting, propitious for a movement of academic training programs creation, in French, within these globally non French-speaking contexts in Eastern Europe. In the majority of cases, at various degrees, twenty years later, the status of the French language appears all the more unstable that the networks of players who generate the curricular academic policy are weak, and that the status of the French language is less and less consensual.