Ce mémoire s’inscrit dans le domaine de l’architecture du paysage et du design urbain. La recherche se construit autour d’un questionnement sur le sens pouvant être attribué au parc La Fontaine par ses usagers en tant que cadre de vie urbain montréalais. Ce parc est un lieu emblématique de la ville par le caractère historique de son aménagement. Il est aussi un lieu populaire par sa situation géographique centrale au sein de l’arrondissement du Plateau-Mont-Royal. Par l’analyse de ce parc, nous cherchons à porter un regard sur la manière dont se construit l’expérience d’un parc urbain dans les particularités de son aménagement, de son contexte social et culturel. Notre étude semble pertinente dans la mesure où cet espace n’a jamais été abordé selon l’analyse de l’expérience paysagère. Notre réflexion se construit à partir d’un modèle socioculturel soutenu par une revue de littérature en architecture de paysage. Les travaux menés à la Chaire en paysage et environnement de l’Université de Montréal ont particulièrement été sollicités. Ce modèle considère le paysage comme une qualification sociale et culturelle d’un territoire. Il engage l’analyse vers des perspectives pluridimensionnelle, expérientielle et polysensorielle, tout en considérant le caractère formel (attributs physiques) du paysage. Nous avons également joint à ce cadre théorique les recherches menées en design et en anthropologie des sens. Ces axes de recherche éclairent les notions de l’expérience esthétique et sensorielle particulièrement en regard de la compréhension du vécu d’un espace ordinaire et quotidien. Selon ce cadre conceptuel, notre recherche fait appel à une approche compréhensive. Ainsi, nous abordons l’expérience du parc par un modèle d’analyse mettant l’emphase sur les usages, l’interprétation et la représentation de l’aménagement du parc La Fontaine. La méthodologie s’appuie sur une démarche de recherche qualitative. Elle se fonde sur une observation non participante des usagers du parc, sur des entretiens semi-dirigés et sur une étude physico-spatiale du lieu. Ce mémoire a pour finalité de conduire une première lecture du parc La Fontaine en abordant les dimensions composant le vécu de ses usagers. Nous espérons pouvoir contribuer à notre échelle à l’avancée des connaissances de cet espace du point de vue expérientiel et de la perspective paysagère sur la compréhension des parcs urbains. / This thesis involves the fields of landscaping architecture and urban design. The research questions the meaning that can be attributed to the La Fontaine park by its users within the framework of urban life in Montreal. This park is a symbolic place in this city by its historic character. It is also a popular location due to its central geographical placement within the district of the Plateau-Mont-Royal. We attempt to explain the way the experience of an urban park relates to the peculiarities of its design, as well as to its social and cultural context, such as that represented by the city of Montreal. Our study seems relevant as this space was never approached with respect to the experience of its landscape. Our reflection builds on a socio-cultural model supported by a literature review in landscaping architecture. In particular, the works led by the Chair in landscaping and Environment of Montreal University were referenced. The employed model considers the landscape a social and cultural qualification of a territory. The analysis is thus directed towards a multi-dimensional reading of everyday experience, all while considering the landscape in its formal qualifications (physical attributes). We have also accompanied this theoretical support by research in design and in anthropology of the senses. These research areas help clarify the role of aesthetic and sensory experiences in the everyday lives of people. According to this conceptual framework, our research develops a comprehensive approach. We thus treat the experience of the landscape with an analytical model emphasizing the use, the interpretation and the representation of the La Fontaine Park landscape. Methodologically, the study uses a qualitative approach compiling a spatial and experiential analysis of the landscape. The study therefore builds on an in situ investigation through non-participatory observation, semi-directed interviews and a physical analysis of the space. This research may offer a first reading of the dimensions at play in the everyday experience of the La Fontaine Park by its users. We hope to contribute to the advancement of the knowledge of this space from an experiential perspective and of the research in urban park design.

教育學傳記研究乃是19世紀初期發跡於德國教育學的新興派典。2001年，在臺灣教育學傳記研究學者的專業旨趣下，於政治大學的教育學院中以一門研究所層級的課程型態現身。研究者在修習該課堂的學習歷程中，開展出不同視域的世界觀，發生內在思想及學習樣態的轉變，原生命存有的傷痛經驗也逐漸舒緩治癒。同時，在修習課堂滿兩年，體察到課堂群體他者亦產生相似的學習轉變歷程，生發過往受教經驗中不曾有過的「美」之體驗。作為中等教育的師資培育生，基於對現今教育現況「苦難」的體悟，進而欲探究教育學傳記研究課堂的美學價值，它對師資培育歷程將存在何種教育意涵與啟示。 本研究以政治大學教育學院於2014年開設的「教育學傳記研究」課堂作為美學文本，採美學探究取向進行實徵性的研究。透過爬梳教育學傳記研究領域在德國的發展，及其蘊涵的學理內涵，以勾勒其美學的價值，並解讀與詮釋課堂中三位學習者學習體驗的口述經驗資料，最後綜合美學論述觀點以及學習者於教育學傳記研究課室中的互動經驗，探討該課程在臺灣高等學府脈絡下呈顯「悟」、「變」、「識」的美學樣貌;同時揭露傳記性經驗陶養的知識觀、以「生命的理解」作為教育行動的基礎、對人性關懷的教育行動三面向的教育意涵。整體而言，教育學傳記研究課堂的存在正朝向還原長久以來在「人力資源」論述中人被異化的教育本質，企圖孕育一種能變革社會的深化動能，在陶養的循環歷程中開顯出「人性關懷」的教育使命。 / Pedagogical Biography Study has become a research paradigm for educational studies in Germany since the 19th century. Its values, principles and significance were put into practice as a graduate-level course in National Chengchi University in Taipei, Taiwan in 2001. The author, who also participated in this academic journey, has developed a different perspective of viewing the world throughout the learning process. The course has contributed to a changed outlook on life for me, including the change of learning attitude and the consolation for the loss of my cousin. Most importantly, with the two-year-long participation in the course, it became self-evident that I share similar transitional experiences with my classmates, which brought about an unprecedented aesthetic experience. As a student in junior high school teacher education, I am well aware that the current situation of education in Taiwan is “suffering.” Therefore, I attempted to inquire the aesthetic value of the “Pedagogical Biography Study” course and explore its pedagogical implications in teacher education. This research is conducted based on an aesthetic inquiry into the “Pedagogical Biography Study” course, which was offered in Fall, 2014. Individual oral narratives as well as the conversation among class members were treated as aesthetic texts. Through the analysis of the documents concerning the development and implications of Pedagogical Biography Study in Germany, this research constructed its aesthetic significance. Besides, I analyzed and interpreted three class members’ narratives of their learning process throughout the semester. At the end, I integrated the aesthetic discourse and the learners’ interactional experience to discuss three kinds of aesthetic conceptions, Awareness, Change and Consciousness. Furthermore, three elements of pedagogical implication were found: 1) the conception of knowledge constructed by biographical experiences, 2) an educational practice agency of understanding the life and 3) taking educational practice with the concern for humanity. In conclusion, this research unraveled the existence of the Pedagogical Biography Study course in the university and discovered the possibility of restoring the essence of education which has long been ignored in the social discourse of “human resources.” It attempted to provoke social transformation and to launch the educational mission of raising the concern for humanity in the Bildung process.

Key words: dance - body - corporeality - dance aesthetics - aesthetic experience - phenomenology - Maxine Sheets-Johnstone - contemporary dance Abstact: Dance's various forms and appearances are connected through one universal aspect - the presence of corporeality as represented by the moving human body. The role and the experience of body is essential for the description of dance even in its aesthetical and philosophical interpretation. First of all, this diploma theses aims to map the field of aesthetics and philosophy of dance from wider historical perspective and consequently to find support in dance basic division and its connected experiences in practice of inner ecstatic immersion. Furthermore, the focus is also given to the type of experience that is subordinated to visual effect of dance. This foundation is further elaborated in second part of this thesis, which discusses dance experience in its aesthetic dimension through context of phenomenological philosophy in thinking of Maxine Sheets-Johnstone. This concept of dance reveals other important qualities in dance as an art. In addition, it shows one of novel approaches to corporeality in the aesthetic experience of dance, which could built on the dichotomous differentiation of the dance experience and open new perspectives on the aesthetic...

Esta pesquisa se situa na fronteira entre as artes cênicas e a psicologia, em especial a perspectiva semiótico-cultural. Temos por tema a relação entre a experiência corporal-estética e o formar-se (Bildung). Nosso foco está em pessoas que empreendem costumeiramente iniciativas de criação teatral, em especial aquelas que as tomem por atividades profissionais. Objetivamos responder à questão: Qual o papel da experiência corporal-estética na formação do ser-ator e nos seus processos de construção de conhecimento a respeito do seu potencial de ação simbólica? Utilizamos, para tanto, da explicitação e análise de parte das experiências práticas do Eu-Outro Núcleo de Pesquisa Cênica, quando da montagem de dois espetáculos teatrais - Favores da Lua o prólogo e O Touro Branco. Essas experiências ilustram três eixos de discussão teórica de que nos utilizamos para responder a questão central desta investigação: 1 a ideia de Merleau-Ponty (2006a; 2006b; 2011; 2012; 2013) de que o homem é um fenômeno senciente que persiste no tempo; 2 a aproximação que Gadamer (1985; 2008; 2010; 2011) faz entre as artes, o jogo e festa, de onde reconhecemos uma dupla possibilidade de experiência do tempo como linear e como cíclico e a repetição como categoria temporal das artes cênicas; 3 o desenvolvimento conceitual de Boesch (1991) sobre cultura e ação em articulação com as propostas de Elias (1993; 1994a; 1994b; 1998) sobre a inevitável interdependência constitutiva entre identidade de grupo e identidade pessoal. Concluímos existir um conhecimento inerente à criação teatral, que se refere a certo poder do ser sobre o mundo. Esse poder, quando alargado, reorganiza a existência senciente do ser e nisso estabelece novas possibilidades e limites para suas relações futuras com esse mesmo mundo. A formação, nesses termos, com que lidamos nesta pesquisa é, nos termos gadamerianos, um constante sair de si para voltar a si modificado / This research stands on the boundaries between scenic arts and the psychology, in particular the semiotic-cultural perspective. We have as a subject-matter the relationship between corporal-aesthetic experience and the Bildung. Our focus is on people that get involved with theatrical creative processes, particularly those who consider them as professional activities. Our goal is to answer the question: Which is the role of corporal-aesthetic experience in the bildung of being-actor and in the processes of making-knowledge regarding to his potential of symbolic action? We use, therefore, the explanation and analysis of practical experiences of I-Other Nucleus of Scenic Research, while set up of two theater shows - \"Favours of the Moon - the prologue\" and \"The White Bull\". These experiences illustrate three areas of theoretical discussion that we use to answer the central question of this research: 1 - the idea by Merleau-Ponty (2006a, 2006b, 2011; 2012; 2013) that man is a sentient phenomenon that persists over time; 2 the approximation that Gadamer (1985; 2008, 2010, 2011) makes between the arts, play and party, where we recognize the possibility of a dual experience of time - as linear and cyclic - and the repetition as a temporal category of scenic arts; 3 - the conceptual development by Boesch (1991) on culture and action, which we articulate with the proposals by Elias (1993, 1994a, 1994b, 1998) on the inevitable constitutive interdependence between both group and personal identity. We conclude there is an inherent knowledge to the theatrical creation, which refers to a certain power of being on the world. This power, when extended, reorganizes the sentient existence of being and that establishes new limits and possibilities for his future relationship with the world. The Bildung, in these terms, we deal with in this research is, in accordance with Gadamerian´s terms, a constant leaving itself to get back to itself modified

In dieser Dissertation wird eine ästhetische Praxis – das „sensuous framing“ – charakterisiert. Im Zuge dessen bilden einerseits das enaktivistische Wahrnehmungskonzept und andererseits der Begriff der „Fadheit“, so er wie von François Jullien dargelegt wird, die kognitionswissenschaftliche und die ästhetisch-philosophische Grundlage für diese Charakterisierung. Die „SozialePlastik“, insbesondere die Arbeit von Shelley Sacks, wird dabei als Beispiel einer ästhetischen Praxis analysiert, die ebenso erkenntnistheoretisch begründet ist. / This dissertation outlines an aesthetic practice of “sensuous framing“.  The enactivist concept of perception and the concept of “blandness,”  described by François Jullien, underpin its theoretical framework, and link it to the fields of cognitive science and philosophy of aesthetics. “Social sculpture,” specifically focusing on the work of Shelley Sacks, is analyzed as an example of this practice and presents an aesthetic approach to theories of epistemology.

Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo. / Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.

Rudolf Steiner (1861-1925) foi um filósofo, jornalista e educador. Atualmente seu nome está associado ao movimento Camphill de educação curativa, sua arquitetura, vários estudos sobre religião, à agricultura biodinâmica, à medicina antroposófica e à pedagogia Waldorf. O objetivo principal desta pesquisa é investigar a contribuição e validade das concepções sobre o querer, o sentir e o pensar de Rudolf Steiner para os estudos literários. Espera-se contribuir para a ressignificação do papel da literatura como força impulsora na mediação entre o sentimento e a razão para o desenvolvimento e constituição do pensar conceitual e formação do ser harmônico e integral. Esta tese contém uma introdução e seis capítulos. O capítulo 1 dá uma ideia geral do contexto de Rudolf Steiner e trata de sua formação, carreira, interesses profissionais, bem como sobre algumas possíveis influências sobre seu pensamento. O capítulo 2 apresenta as concepções do homem, do querer, do sentir e do pensar que aparecem na obra Filosofia da Liberdade e suas relações com outros estudos do autor. Discute também a importância da arte e das narrativas para a formação do ser humano integral, harmônico e espiritualmente livre. O capítulo 3 compara as ideias de Steiner acerca do pensar, da criança, das narrativas com as concepções de Edgar Morin e Walter Benjamin. Também apresenta indicações de narrativas propostas por seguidores de Steiner. O capítulo 4 apresenta a metodologia e as obras utilizadas na experiência estética de recepção de leitura desenvolvida com ex-alunos formados pela pedagogia Waldorf e ex-alunos formados por outras pedagogias. O capítulo 5 discute os resultados da pesquisa. O capítulo 6 apresenta algumas considerações finais sobre o assunto. / Rudolf Steiner (1861-1925) was a philosopher, journalist and educator. Nowadays his name is usually associated with the Camphill moviment of curative education, architecture, biodynamical agriculture, the anthroposophical medicine, several studies on religion and the Waldorf education. The aim of this research is to examine the contribution and validity of Rudolf Steiners concepts of willing, feeling and thinking that may be seen in literary studies. This work is expected to render some contrtibution to resignifying the role of literature as a thrust in mediating feelings and reason in order to develop and constitute conceptual thinking as well as in forming a harmonious and wholesome being. This thesis contains an introduction and six chapters. Chapter 1 provides a general overlook of Steiners context and deals with his background, career, professional interests as well as some of the possible influences he received. Chapter 2 studies Steiners concepts of man, willing, feeling and thinking presented in his work The Philosophy of Freedom as well as in other works by Steiner. It also discusses the importance of Art and the importance of narrative to form a wholesome and harmonious being who is also spiritually free. Chapter 3 compares Steiner\'s ideas about thinking, about the child and about the narratives that follow conceptions by Edgar Morin and Walter Benjamin. It also presents indications of narrative proposed by Steiners followers. Chapter 4 presents the methodology and the works used in the aesthetic experience of reading reception, which was developed with alumni graduated in Waldorf and alumni graduated in other pedagogies. Chapter 5 discusses the results of the research. Chapter 6 presents some final thoughts on the subject.

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-08-03T15:58:56Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Rafael_Fagundes_ Cavalheiro_Dissertação.pdf: 6498549 bytes, checksum: b84a6ad680113eafe77af07e50443898 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-07T20:07:33Z (GMT) No. of bitstreams: 2 Rafael_Fagundes_ Cavalheiro_Dissertação.pdf: 6498549 bytes, checksum: b84a6ad680113eafe77af07e50443898 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-07T20:07:40Z (GMT) No. of bitstreams: 2 Rafael_Fagundes_ Cavalheiro_Dissertação.pdf: 6498549 bytes, checksum: b84a6ad680113eafe77af07e50443898 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-07T20:07:47Z (GMT). No. of bitstreams: 2 Rafael_Fagundes_ Cavalheiro_Dissertação.pdf: 6498549 bytes, checksum: b84a6ad680113eafe77af07e50443898 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-28 / A partir da apresentação das diferentes formas de criação e compartilhamento da arte contemporânea, e do caráter comunicativo que compõem seus processos, interlocuções e meios, propomos um estudo de aproximação entre Experiência Estética e Comunicação na Pós-modernidade. Em um cenário onde a percepção de mundo promove o reconhecimento do saber sensível e no qual cada vez mais a tecnologia e o consumo são debatidos e confrontados com a arte e a estética, nos interessa refletir acerca dos novos meios e espaços de interlocução que promovem a Experiência Estética. A partir do aporte teórico referendado pelas noções de Experiência Estética, Comunicação, Pós-modernidade e Interação, trazidas através de autores como Valverde, Maffesoli e Lévy, buscamos relacionar novas possibilidades de experiências estéticas a partir da perspectiva da Sociologia Compreensiva / Razão Sensível, categorias de Michel Maffesoli, para a realização desta pesquisa qualitativa, na qual, com base nesses subsídios teóricos, analisamos contextos que ilustram o objetivo principal deste trabalho e o realizam de forma prática através de um estudo de caso que a contextualiza, o “restro-arte” Madre Mia, restaurante localizado em Pelotas-RS, assim como os canais de comunicação online que permitem a interação e exposição da arte nesse espaço, por meio de dispositivos como as redes sociais Instagram, Facebook e a própria plataforma do restaurante. Nestes diferentes contextos nos quais estão inseridas a arte contemporânea, em lugares que chamamos de espaços não-formais, representada por espaços virtuais e comerciais, se localiza esta investigação. Espera-se, desta forma, proporcionar um diálogo reflexivo acerca da comunicação pós-moderna e as possibilidades de experiências estéticas através da relação entre arte e sujeito. / From the presentation of different forms of creation and sharing of contemporary art, and the communicative character that make up its processes, dialogues and means, we propose an approach study of aesthetic experience and communication in Postmodernism. In a scenario where the perception of the world promotes the recognition of knowledge sensitive and where increasingly the technology and consumption are discussed and confronted with art and aesthetics, interests us think about new ways and spaces of dialogue that promote aesthetic experience. Thus, from the theoretical framework endorsed by the experience notions of Aesthetic Communication, Post-modernity and interaction, brought by authors like Valverde, Maffesoli and Lévy, we seek to relate new possibilities for aesthetic experiences. Thus, we have the prospect of Comprehensive Sociology / Reason Sensitive to carry out this qualitative research, in which, based on this theoretical basis, we analyze contexts that illustrate the main objective of this work. A case study that contextualizes this research was chosen: the "restro-art" Madre Mia restaurant located in Pelotas-RS, as well as online communication channels that allow interaction and art exhibition, through devices such as networks social Instagram, Facebook and the platform. In these different contexts in which they operate contemporary art in places we call non-formal spaces, represented by virtual and commercial spaces, is located this investigation. It is expected, therefore, provide a reflective dialogue about post-modern communication and the possibilities of aesthetic experiences through the relationship between art and subject

Rudolf Steiner (1861-1925) foi um filósofo, jornalista e educador. Atualmente seu nome está associado ao movimento Camphill de educação curativa, sua arquitetura, vários estudos sobre religião, à agricultura biodinâmica, à medicina antroposófica e à pedagogia Waldorf. O objetivo principal desta pesquisa é investigar a contribuição e validade das concepções sobre o querer, o sentir e o pensar de Rudolf Steiner para os estudos literários. Espera-se contribuir para a ressignificação do papel da literatura como força impulsora na mediação entre o sentimento e a razão para o desenvolvimento e constituição do pensar conceitual e formação do ser harmônico e integral. Esta tese contém uma introdução e seis capítulos. O capítulo 1 dá uma ideia geral do contexto de Rudolf Steiner e trata de sua formação, carreira, interesses profissionais, bem como sobre algumas possíveis influências sobre seu pensamento. O capítulo 2 apresenta as concepções do homem, do querer, do sentir e do pensar que aparecem na obra Filosofia da Liberdade e suas relações com outros estudos do autor. Discute também a importância da arte e das narrativas para a formação do ser humano integral, harmônico e espiritualmente livre. O capítulo 3 compara as ideias de Steiner acerca do pensar, da criança, das narrativas com as concepções de Edgar Morin e Walter Benjamin. Também apresenta indicações de narrativas propostas por seguidores de Steiner. O capítulo 4 apresenta a metodologia e as obras utilizadas na experiência estética de recepção de leitura desenvolvida com ex-alunos formados pela pedagogia Waldorf e ex-alunos formados por outras pedagogias. O capítulo 5 discute os resultados da pesquisa. O capítulo 6 apresenta algumas considerações finais sobre o assunto. / Rudolf Steiner (1861-1925) was a philosopher, journalist and educator. Nowadays his name is usually associated with the Camphill moviment of curative education, architecture, biodynamical agriculture, the anthroposophical medicine, several studies on religion and the Waldorf education. The aim of this research is to examine the contribution and validity of Rudolf Steiners concepts of willing, feeling and thinking that may be seen in literary studies. This work is expected to render some contrtibution to resignifying the role of literature as a thrust in mediating feelings and reason in order to develop and constitute conceptual thinking as well as in forming a harmonious and wholesome being. This thesis contains an introduction and six chapters. Chapter 1 provides a general overlook of Steiners context and deals with his background, career, professional interests as well as some of the possible influences he received. Chapter 2 studies Steiners concepts of man, willing, feeling and thinking presented in his work The Philosophy of Freedom as well as in other works by Steiner. It also discusses the importance of Art and the importance of narrative to form a wholesome and harmonious being who is also spiritually free. Chapter 3 compares Steiner\'s ideas about thinking, about the child and about the narratives that follow conceptions by Edgar Morin and Walter Benjamin. It also presents indications of narrative proposed by Steiners followers. Chapter 4 presents the methodology and the works used in the aesthetic experience of reading reception, which was developed with alumni graduated in Waldorf and alumni graduated in other pedagogies. Chapter 5 discusses the results of the research. Chapter 6 presents some final thoughts on the subject.

Esta pesquisa se situa na fronteira entre as artes cênicas e a psicologia, em especial a perspectiva semiótico-cultural. Temos por tema a relação entre a experiência corporal-estética e o formar-se (Bildung). Nosso foco está em pessoas que empreendem costumeiramente iniciativas de criação teatral, em especial aquelas que as tomem por atividades profissionais. Objetivamos responder à questão: Qual o papel da experiência corporal-estética na formação do ser-ator e nos seus processos de construção de conhecimento a respeito do seu potencial de ação simbólica? Utilizamos, para tanto, da explicitação e análise de parte das experiências práticas do Eu-Outro Núcleo de Pesquisa Cênica, quando da montagem de dois espetáculos teatrais - Favores da Lua o prólogo e O Touro Branco. Essas experiências ilustram três eixos de discussão teórica de que nos utilizamos para responder a questão central desta investigação: 1 a ideia de Merleau-Ponty (2006a; 2006b; 2011; 2012; 2013) de que o homem é um fenômeno senciente que persiste no tempo; 2 a aproximação que Gadamer (1985; 2008; 2010; 2011) faz entre as artes, o jogo e festa, de onde reconhecemos uma dupla possibilidade de experiência do tempo como linear e como cíclico e a repetição como categoria temporal das artes cênicas; 3 o desenvolvimento conceitual de Boesch (1991) sobre cultura e ação em articulação com as propostas de Elias (1993; 1994a; 1994b; 1998) sobre a inevitável interdependência constitutiva entre identidade de grupo e identidade pessoal. Concluímos existir um conhecimento inerente à criação teatral, que se refere a certo poder do ser sobre o mundo. Esse poder, quando alargado, reorganiza a existência senciente do ser e nisso estabelece novas possibilidades e limites para suas relações futuras com esse mesmo mundo. A formação, nesses termos, com que lidamos nesta pesquisa é, nos termos gadamerianos, um constante sair de si para voltar a si modificado / This research stands on the boundaries between scenic arts and the psychology, in particular the semiotic-cultural perspective. We have as a subject-matter the relationship between corporal-aesthetic experience and the Bildung. Our focus is on people that get involved with theatrical creative processes, particularly those who consider them as professional activities. Our goal is to answer the question: Which is the role of corporal-aesthetic experience in the bildung of being-actor and in the processes of making-knowledge regarding to his potential of symbolic action? We use, therefore, the explanation and analysis of practical experiences of I-Other Nucleus of Scenic Research, while set up of two theater shows - \"Favours of the Moon - the prologue\" and \"The White Bull\". These experiences illustrate three areas of theoretical discussion that we use to answer the central question of this research: 1 - the idea by Merleau-Ponty (2006a, 2006b, 2011; 2012; 2013) that man is a sentient phenomenon that persists over time; 2 the approximation that Gadamer (1985; 2008, 2010, 2011) makes between the arts, play and party, where we recognize the possibility of a dual experience of time - as linear and cyclic - and the repetition as a temporal category of scenic arts; 3 - the conceptual development by Boesch (1991) on culture and action, which we articulate with the proposals by Elias (1993, 1994a, 1994b, 1998) on the inevitable constitutive interdependence between both group and personal identity. We conclude there is an inherent knowledge to the theatrical creation, which refers to a certain power of being on the world. This power, when extended, reorganizes the sentient existence of being and that establishes new limits and possibilities for his future relationship with the world. The Bildung, in these terms, we deal with in this research is, in accordance with Gadamerian´s terms, a constant leaving itself to get back to itself modified