O trabalho a seguir propõe um estudo do filme Chaplin (1992), dirigido por Richard Attenborough. Essa investigação foi feita sob a perspectiva da psicologia social da arte e do cinema, procurando entender o objeto dentro do campo em que ele se encaixa: a atividade artística. Levantamos também a discussão das temáticas que a própria obra suscita. Para tal, alguns autores de áreas conciliáveis com a psicologia foram utilizados também. Exemplo disso é a forte presença de estudos iconológicos no trabalho. Em nossa avaliação do filme subdividimos a análise em duas etapas majoritárias. Na primeira delas, separamos a obra por seções, de acordo com o que consideramos como momentos distintos da narrativa. Cada uma delas corresponde a uma fase da vida do personagem principal e/ou uma série de acontecimentos muito marcantes correlacionados. Nessas seções consideramos também algumas categorias técnicas para a avaliação das cenas. São as atuações, a música, os diferentes enquadramentos e cenários e a luminosidade dos frames, assim como as suas cores. Já na segunda parte da análise, algumas das sequências são avaliadas mais profundamente, considerando as categorias anteriormente citadas e fazendo uma descrição minuciosa do correr daquele instante narrativo. Além disso, são discutidos os tópicos que aparecem com mais força na sequência. Ou seja, estivemos atentos a dois aspectos principais enquanto analisamos o filme: as temáticas recorrentes da obra (como a relação entre fama, sucesso e solidão, por exemplo) e as estratégias utilizadas pela película para criar as cenas e a narrativa. A forma como ela combina os enquadramentos, a música e os demais elementos. Por fim, estabelecemos algumas reflexões gerais sobre o filme como um todo, pensando na análise das seções e das sequências escolhidas. Assim como também propomos uma continuidade das discussões erigidas nesta pesquisa / The following work proposes a study of Chaplin (1992), movie directed by Richard Attenborough. We carried this inquiry under the Social Psychology of Art and Cinema perspective, trying to understand the object inside the field it fits in: the artistic activity. We also discussed themes the own work of art elicits. For this, we applied scholars whose areas dialogue with Psychology as well. For instance, we have a strong presence of iconological studies in the work. The examination of the film required a two main steps subdivided analysis. On the first one, we separated the movie into sections, according to what we considered distinguished moments of the narrative. Each one of them matches a protagonists life phase and/or a correlated chain of remarkable events. We also considered some technical categories on these sections, so we could examine the scenes. They are the performers acting, music, framings and scenarios, and finally the colors and luminosity of these frames. Then we have the second part analysis, which is a deep and detailed examination of some sequences, considering the mentioned categories. In other words, we kept our attention on two main aspects while conducting the analysis: the movie recurring issues (for instance, the relation between fame, success and loneliness) and its scene creation strategies. Namely, the combination of framing, music and other elements. Finally, there are some general reflections about the movie as a whole, contemplating the sections and the chosen sequences analysis. We also propose that the raised debates continue beyond this research

O presente trabalho desenvolve uma reflexão sobre algumas figuras recentes da modernidade cultural brasileira, de modo a evidenciar o sentido formativo que a experiência estética pode assumir no campo da educação. Especificamente, discute a forma da canção brasileira em duas de suas expressões mais singulares: o tropicalismo de Tom Zé e o rap agressivo do Racionais MC\'s. De modos diversos, ambos os cancionistas elaboram uma experiência da cidade de São Paulo explorando a canção como forma narrativa. A pesquisa constela imagens da cidade em momentos críticos de seu desenvolvimento e, ao mesmo tempo, reflete sobre as diferentes experiências estéticas como experiências de formação. Para tanto, o referencial teórico articula uma intersecção entre três campos de reflexão: sociologia da cultura, filosofia da educação e teoria estética. Considerando reflexões de Walter Benjamin, Theodor Adorno, Jean Baudrillard, Edgar Morin, dentre outros, o trabalho discute a canção em sua relação com a cultura de consumo. A partir da semiótica da canção de Luiz Tatit e do conceito de escuta de Roland Barthes, dentre outras referências, procede-se uma interpretação analítica dos projetos estéticos e das composições de Tom Zé e do Racionais MC\'s. Considerando-se, dentre outras, as análises de Henri Lefebvre e Zigmunt Bauman sobre a sociedade contemporânea e as proposições de Michel De Certeau sobre o impacto da cultura de massa na educação, discute-se o sentido da formação escolar diante da importância crítica que as linguagens artísticas e midiáticas assumiram, da segunda metade do século XX em diante, na sociabilidade e das manifestações culturais dos jovens. Por fim, partindo da discussão de Foucault acerca do conceito de esclarecimento, o trabalho afirma a centralidade da experiência estética na elaboração das condições de possibilidade da formação de sujeitos críticos, emancipados e autônomos. Os resultados da pesquisa apontam para uma problematização do sentido da educação, da cultura escolar e da idéia de formação a partir da destacada significação cultural da canção no Brasil. / This work develops a reflection about some recent figures of the cultural brazilian modernity to remark the formative sense that the aesthetic experience can assume on education. Specifically, it discusses the form of Brazilian song on two of its singulars expressions: the Tom Zé\'s tropicalism and the Racionais MC\'s aggressive rap. Through different means, both artists narrate an aesthetics experience of São Paulo city by exploring the song as narrative form. The research pictures critical moments of modern city development and, at the same time, reflects about different aesthetics experience as a formative experience. For this, the theoretical references are an intersection of three reflection\'s fields: sociology of culture, philosophy of education and esthetics critics. Considering, among others, reflections from Walter Benjamin, Theodor Adorno, Jean Baudrillard and Edgar Morin, the work discusses the relationship between song and consumption culture. Among others references, from the semiotics of song of Luiz Tatit and the Roland Barthes\'s concept of listening, it proceeds an analytical interpretation of Tom Zé\'s and Racionais MC\'s aesthetics projects and compositions. Considering, among others, Henri Lefebvre\'s and Zigmunt Bauman\'s analysis about contemporary society and De Certeau proposition\'s about the impact of mass culture on education, it discusses the sense of schooling in face of critical importance that artistic languages from media assumes, from the middle of XX century upwards, on the sociability and on cultural manifestations of the young. At last, from the Foucault\'s discussion about the concept of enlightenment, the work affirms the centrality of aesthetics experience as a possibility to create conditions to educate critical, emancipated and autonomous subject. The research results conclude into a problematization of the meaning of education, schooling culture and the idea of \"formation\" (cultural background) from the remarkable cultural signification of song in Brazil.

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This thesis explores the problematic relationship between ethics and aesthetics as reflected in the works of six highly controversial French and American authors of the Twentieth century. The study sets out to investigate the possible reasons why we keep on reading, cherishing and rejoicing in the works of writers who present us with an extremely unsettling ethical situation. Using the notion of Sublime Evil as it plays out in the works of Louis-Ferdinand Celine, Pierre Drieu La Rochelle, Jean Genet, Vladimir Nabokov, William Burroughs and Michel Houellebecq, I explore the mechanism through which works of literature, thoroughly reprehensible from the point of view of conventional morality, prove to be compelling and irresistible. By analyzing at length the escape vaults of love, religion, art, ideology, drugs anti-social behavior such as Nazism, anti-Semitism, pedophilia, prostitution, homicide and theft, in the seven novels, I demonstrate that ultimate dejection ends up paradoxically and inextricably bound with supreme aesthetic beauty.

In my personal experience, I have discovered notable aesthetic problems that face many contemporary evangelical churches. In spite of these churches’ best efforts, they fail to bridge the culture gap and foster a meaningful worship service. But John Dewey’s aesthetic philosophy understands the shifting nature of our environment and the value of aesthetic experience, providing beneficial insights to assist unhealthy churches. To better understand the applicability of his philosophy, Chapter II is an exposition of John Dewey’s aesthetics that revolves around four central questions: What is Dewey’s starting point for aesthetics? What distinguishes aesthetic experiences from others? What is his criticism of the “museum conception of art”? What is the significance for Dewey of our activities having or not having aesthetic quality? Chapter III is a Deweyan investigation of four real churches: the elite church, which promotes an aesthetic that is reserved for its members; the broken church, which is divorced from community; the humdrum church, which is preoccupied with the routine; and the sensational church, which is characterized by indulgence. Chapter IV is a description of two recent attempts to bridge the culture gap and offer meaningful worship activities: the seeker-sensitive movement which contends that the church must be “culturally inviting” to the community, and the emerging movement(s), which seeks to dismantle traditional churches using deconstructionism and reconstructing worship services that are experiential, pluralistic, and sensory. My Deweyan argument in Chapter V is that both the “seeker-sensitive” and the “emerging” movements fail to adequately understand the shifting character of our environment and our relation to it. If problem churches acknowledge that discontinuity with environment is inevitable, seek to meet the needs of others, embrace adjustment as a core component, and value aesthetic experience, they will be in a better position to bridge the culture gap and offer an enriching worship experience in their services. Three Deweyan lessons are gleaned from this inquiry: value aesthetic experience and its contribution in bridging the culture gap, implement Deweyan insights drawn from our examination of traditional churches, and contribute to society by generating artproducts that will benefit the community.

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Submitted by VANESSA PEREIRA DO NASCIMENTO (vanessapn@gmail.com) on 2018-08-22T23:52:32Z No. of bitstreams: 1 Mestrado_Vanessa Pereira.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-23T00:17:01Z (GMT) No. of bitstreams: 1 nascimento_vp_me_ia.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) / Made available in DSpace on 2018-08-23T00:17:01Z (GMT). No. of bitstreams: 1 nascimento_vp_me_ia.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) Previous issue date: 2018-06-26 / Nesta pesquisa são apresentadas relações entre arte/educação e tecnologias contemporâneas no contexto da educação não formal. A partir das ações culturais realizadas pelo projeto de cultura digital Laboratórios Interativos Nômades para Criatividade e Experimentação (LINCE), sobretudo na zona leste da cidade de São Paulo, o desenvolvimento de um posicionamento crítico frente as tecnologias contemporâneas é relacionado a sua desmistificação e a experiência estética. A necessidade de políticas públicas de inclusão que desenvolvam a postura crítica do indivíduo, não se limitando apenas a oferta de acesso à internet é relacionada a exclusão digital e a exclusão cultural. A desmistificação dos dispositivos tecnológicos e a aprendizagem dos meios de produção são relacionadas ao empoderamento digital, processo que inclui o desenvolvimento de uma relação sensível com as tecnologias contemporâneas por meio da experiência estética. / In this research, the relation between art education and contemporary technologies is presented in a non-formal education context. Based on the cultural actions carried out by the Nomadic Interactive Laboratories for Creativity and Experimentation (LINCE) digital culture project, especially in the eastern part of the city of São Paulo, the encouragement of critical thinking when exposed to contemporary technologies is related to its demystification and aesthetic experiences. The need for public inclusion policies that develop the individual's critical stance, not limited to the provision of Internet access, is related to digital exclusion and cultural exclusion. The demystification of technological devices and learning about the means of production are related to the digital empowerment, a process that includes the development of a sensitive relationship with contemporary technologies through aesthetic experience.

Title: Aesthetics as a norm of life Author: PhDr. Helena Jarošová Department of Aesthetics Supervisor: Prof. PhDr. Vlastimil Zuska, CSc. The thesis focuses on body (corporeality), things and private (home) interior as the exemplary areas of a contemporary aesthetics of life. In the thesis, I do consider this relatively autonomous domain of general aesthetics (a field of aesthetic function outside art, according to Mukařovský), or more precisely a sphere of growing influence of all-embracing aestheticization of the world (G. Lipovetsky) not only as a phenomenon, with which we have to deal today, but as a much older process, the roots of which can be traced back at least two centuries to the past. In this subject matter I especially emphasize primary and derived relations of this kind of aestheticization to a public space, i.e. an aesthetic function that originally only supports the main function of a given thing or event can eventually become dominant and independent and finally influence the very domain from which it originated (e.g. female decorative make-up used to be, historically, an accompanying effect of male dominance in the society, later it became a mean of female emancipation or of an individually designed style of life). I also pay attention to a phenomenology of an aesthetic experience;...

Esta pesquisa tem como objeto de investigação a experiência estética tecida pelo canto como meio para o alargamento da sensibilidade, auto percepção e expressão nos campos pessoal e coletivo, bem como para o senso de pertencimento a uma comunidade. Pautada no método fenomenológico de pesquisa, teve como campo de estudo os participantes da oficina Viver o Canto, promovida pelo Sesc-Pompéia e conduzida pela pesquisadora. Fundamentada na experiência proporcionada pela oficina, da compreensão dos relatos dos participantes colhidos em cada encontro em diários de campo especialmente confeccionados para este trabalho, das anotações da pesquisadora/facilitadora e das entrevistas realizadas com os participantes, emergiram os tópicos principais desse estudo: Sensibilidade, Tempo e Pertencimento, assim como seus desdobramentos dentro do campo estético gerado pelo canto. Concluiu-se que esses três tópicos abrangiam a gama de sensações, sentimentos e reflexões levantadas por tal experiência e, a partir deles, a conceituação teórica foi formulada. Os resultados encontrados demonstraram como a experiência estética e o engajamento estético tecidos pelo canto podem ser compreendidos como um caminho para a transformação pessoal e social, bem como para o surgimento e fortalecimento do senso de pertencimento a uma comunidade / This research aims to investigate the aesthetical experience woven by singing as a means to enlarge the sensibility, self-perception, and expression, both individually and collectively, as well as to increase the sense of belonging to a community. Following the Phenomenological research method, its field of study was the workshop Viver o Canto (Live the Singing) , promoted by Sesc-Pompéia (São Paulo) and conducted by the researcher. From the experience provided by the workshop, from the comprehension of the participants´ reports gathered in each session in field diaries made especially for this work, from the notes of the researcher/facilitator, and from the interviews with the participants emerged the main topics of this study: Sensibility, Time and Belonging, as well as their unfolding within the aesthetic field provided by singing. We have concluded that these 3 topics cover the range of sensations, feelings, and reflection originated from such experience; being the theoretical frame formulated from them. The results show how the aesthetical experience and the engagement woven by singing can be understood as a way to personal and social transformation, and to the emergency and straightening of the sense of belonging to a community

Made available in DSpace on 2016-08-16T18:10:30Z (GMT). No. of bitstreams: 1 dissertacao Poliana.pdf: 2132604 bytes, checksum: bba61aa09bb00155b6554a9e9f858142 (MD5) Previous issue date: 2013-08-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This paper resulted from research on the police news on television that investigated the potential for communicability of this kind of programming from the aesthetic experience and the production of meanings derived from this experience. We seek to understand the sensitive dimension present in police news in terms of communicative processes / interactive set / designed by them. Therefore, our exercise will outline the specifics of aesthetic experience that can be performed on the interaction of viewers with the news police. The empirical reference of the research program was the Flag 2, aired 21 years ago on TV Difusora, police news oldest of Maranhão. By exploring murders, thefts, murders, police operations, lynching, this news is a program whose main attractions are content linked to violence, but always framed in the context of crime. We take for theoretical considerations of Dewey (1980), Jauss (1979), Iser (1999), Grumbrecht (2010) and Seel (1993). / Esta dissertação resultada de pesquisa sobre os noticiários policiais da televisão que investigou o potencial de comunicabilidade deste tipo de programação a partir da experiência estética e da produção de sentidos oriunda dessa experiência. Buscamos compreender a dimensão sensível presente nos noticiários policiais em termos de processos comunicativos/interativos instituídos/projetados por eles. Para tanto, nosso exercício será delinear as especificidades da experiência estética que pode se realizar na interação dos telespectadores com os noticiários policiais. O referencial empírico da pesquisa foi o programa Bandeira 2, exibido há 21 anos na TV Difusora, noticiário policial mais antigo do Estado do Maranhão. Por explorar assassinatos, roubos, mortes, operações da polícia, linchamento, este noticiário é um programa cujos principais atrativos são conteúdos ligados à violência, mas sempre enquadrados no âmbito da criminalidade. Tomamos por aporte teórico as considerações de Dewey (1980), Jauss (1979), Iser (1999), Grumbrecht (2010) e Seel (1993). Palavras-chave: Experiência estética. Produção de sentidos.