Orientador: Ana Angélica Medeiros Albano / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T15:29:09Z (GMT). No. of bitstreams: 1 Rocha_AnaCristinaRossetto_M.pdf: 5210751 bytes, checksum: bbc9055579c4beabcc2894e93a516d36 (MD5) Previous issue date: 2011 / Resumo: Este trabalho foi provocado pelo meu interesse nas relações entre a educação musical e a experiência estética no campo da iniciação artística, o qual tem me acompanhado em meu percurso como professora e como musicista. A pesquisa analisa o processo vivido por uma turma de alunos da faixa etária de oito anos durante um período do ano de 2009, orientada por mim em parceria com o professor de teatro Carlos Sgreccia, na Escola Municipal de Iniciação Artística - EMIA; instituição que pertence ao Departamento de Expansão Cultural da Secretaria de Cultura da Prefeitura de São Paulo e tem como proposta a iniciação de seus alunos às linguagens artísticas de maneira integrada. A análise foi baseada no imbricamento da minha vivência como professora com a observação cuidadosa dos registros realizados durante o período focalizado: registros do caderno de campo, fotográfico e de vídeo. Ampliadas e instigadas pelas interlocuções teóricas - que se deram principalmente com autores do campo da filosofia, especialmente Gilles Deleuze e Félix Guattari - esta observação e análise produziram um modo de pensar as potencialidades e possibilidades da educação musical como educação estética. / Abstract: This work was provoked by my interest in the relationship between music education and aesthetic experience on the field of artistic initiation, wich has accompanied me on my journey as a teacher and as a musician. The research analyses the process experienced by an eight years old group of children, during a period of 2009, oriented by me in partnership with the drama teacher Carlos Sgreccia, in the Escola Municipal de Iniciação Artística (Municipal School of Art Initiation) - EMIA; institution that belongs to the Culture Expansion Department of the Culture Secretariat of the Municipality of São Paulo and proposes the initiation of their students to the artistic languages in an integrated manner. The analysis was based on the imbrication of my experience as a teacher with a careful observation of the records made during the period focus on: records from the field notebook, photographs and videos. Expanded and instigated by the theoretical interlocutions - that occurred mostly with authors of the philosophy, especially Gilles Deleuze e Félix Guattari - this observation and analysis produced a way of thinking of the potencialities and possibilities of the music education as aesthetic education. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

The aim of this paper was to analyse foregrounding elements in Seamus Heaney’s poem “Digging.” The analysis shows that deviances from everyday non-literary language, i.e. foregrounding, are both likely to evoke defamiliarisation in readers and also provide readers with the likelihood of having an aesthetic experience. This has been done by adhering to the literary theory of Cognitive stylistics and to its related literary concepts, namely the theory of foregrounding. Furthermore, this paper also aimed to provide examples of how “Digging” can be taught in a pedagogical setting. In short, this paper argues for a teaching of poetry that focuses on the sensual aesthetic qualities in a poem. Therefore, this paper supports the claim that students need to attentively read, watch and perform poetry in order to experience its sounds and textures fully. Such an approach corresponds well to an aesthetic education which aims at developing, in students, a heightened awareness of and appreciation for all that touches our lives. Lastly, the pedagogical implementations showed that a foregrounding analysis of “Digging” can be fruitful to incorporate in the EFL classroom. Apart from evoking defamiliarisation and aesthetic reactions, a stylistic analysis can also serve to raise students' linguistic and literary awareness. As a result, students can discover why poets make particular language choices as well as develop their ability to interpret literary works.

De konstnärliga högre utbildningarna med bild- och forminriktning har till övervägande del en studentsammansättning med kulturellt kapital1 hemifrån. För att hårdra betyder det att elever med litet ekonomisk, socialt eller kulturellt kapital inte söker estetiskt gymnasieprogram eller blir studenter på förberedande konstnärlig utbildning.Här ges en bild av hur villkoren ser ut på fältet och hur rekrytering till högre konstnärlig utbildning går till. Utbildningsanordnarna som intervjuas i undersökningen konstaterar den rådande sociala snedrekryteringen i Stockholm.En utbyggd användning av portfolio inom gymnasieskolan skulle kunna fungera som modell för att bryta den sociala snedrekryteringen. Portfoliomodellen ger elever och studenter utrymme att träna sig i självvärdering genom samlande och reflektion av egna alster. Att kunna värdera sig själv ger perspektiv och utvecklingsmöjligheter i förståelsen av sig själv som en del av ett större sammanhang, en helhet, en kultur. Genom de kriterier som innefattas av konstruktionen av portfolion, ges utmaning i att se nya möjligheter i sina framtida yrkes- och utbildningsval. / The education at an advanced level of Fine Arts is dominated by students with a cultural capital from their heritage2 In strong words this will mean that students with small economic, social or cultural capital won´t apply for aesthetic high schools or even become students in art schools.This degree thesis gives a picture of how the conditions look like in reality and how the recruitment to higher artistic education is conducted. The education organisers that were interviewed in the survey established that there is a prevailing social imbalance in Stockholm.A larger use of the portfolio in high-schools could stand as a model in order to break the prevailing social imbalance. The portfolio model gives each person the space, through collecting and reflection of their own material, to find and train in self evaluation. To be able to evaluate your own person it will give perspectives on his or hers development opportunities in the understanding of itself as a part of a bigger contexts, a whole, a culture. Through the criteria that are included of the structure of the portfolio, is given a challenge in seeing new possibilities in his or her future trade's - and educational choices.

Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « ternaires » ou « tripolaires », avec le rôle d’un Tiers, d’un « milieu ». La problématique ainsi retenue est la suivante :Quelles sont les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » ?Au niveau historique, pour chaque culture, deux périodes jugées « significatives » dans le cadre de la philosophie de l’éducation esthétique/artistique ont été retenues. La première période correspond à l’Antiquité. Pour la chine, il s’agit de l’époque des Printemps et Automnes (771 à 476 av. J.-C.), pendant laquelle sont nés les courants philosophiques du confucianismeet du taoïsme. Pour l’Occident, il s’agit de la pensée grecque telle qu’elle est soulignée par Platon et Aristote. La seconde période, ne correspond pas à une synchronie entre la Chine et l’Occident. En revanche, elle se traduit dans un cas comme dans l’autre, par une profonde réforme des valeurs éducatives des arts. Cette réforme correspond pour l’Occident aux Lumières, notamment allemandes, par exemple avec la naissance, au XVIIIe siècle, de l’esthétique sous la plume de Baumgarten. Si la Chine était restée en phase avec la tradition de l’époque des Printemps et Automnes, il fallut attendre l’époque républicaine, à partir de 1919, pour que cette réforme se produise, précisément sous l’influence d’intellectuels chinois qui introduisirent de nouvelles conceptions très influencées par les Lumières européennes.Tel est le parcours historique que propose cette thèse, pour revenir finalement à la question de sa démarche comparative sur la base du « binaire » ou du « ternaire », base sur laquelle oscille l’ensemble du corpus présenté, tant en Chine qu’en Occident. Cette double configuration, repérée au centre des axiologies ici présentées, se prête ainsi, au-delà des valeurs éducatives des arts, à articuler un opérateur comparatif « transculturel » dont la proposition et l’essai constituent l’originalité de cette thèse au regard des approches sino-occidentales. / This thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches.