Orientador: Rejeane Galvão Coutinho / Banca: Miriam Celeste Martins / Banca: Luiza da Silva Christov / Resumo: Esta pesquisa tem como foco as práticas avaliativas realizadas por setores educativos de museus de arte e instituições culturais. A fundamentação teórica parte da intersecção dos campos da educação e da arte-educação, sobretudo no que tange à educação não formal realizada em espaços expositivos. Foram realizadas visitas e entrevistas com coordenadores de setores educativos de quatro instituições da cidade de São Paulo: Paço das Artes, Museu de Arte de São Paulo, Museu Lasar Segall e Pinacoteca do Estado de São Paulo. Esta pesquisa exploratória possibilitou um entendimento de como os setores educativos estão realizando a reflexão de suas ações educativas e como estas práticas podem influenciar o processo de atendimento ao público. A experiência da avaliação como reflexão do processo educativo realizado em espaços culturais foi também vivenciada pela pesquisadora junto à equipe do Pavilhão das Culturas Brasileiras em São Paulo, onde foram pensadas estratégias articuladas através de relatos da mediação cultural por parte dos sujeitos envolvidos. Como resultados da pesquisa, aprendi que a avaliação das ações educativas deva ser reflexiva no seu processo, para que possa desempenhar uma função transformadora e construtiva da própria mediação cultural / Abstract: Esta pesquisa tem como foco as práticas avaliativas realizadas por setores educativos de museus de arte e instituições culturais. A fundamentação teórica parte da intersecção dos campos da educação e da arte-educação, sobretudo no que tange à educação não formal realizada em espaços expositivos. Foram realizadas visitas e entrevistas com coordenadores de setores educativos de quatro instituições da cidade de São Paulo: Paço das Artes, Museu de Arte de São Paulo, Museu Lasar Segall e Pinacoteca do Estado de São Paulo. Esta pesquisa exploratória possibilitou um entendimento de como os setores educativos estão realizando a reflexão de suas ações educativas e como estas práticas podem influenciar o processo de atendimento ao público. A experiência da avaliação como reflexão do processo educativo realizado em espaços culturais foi também vivenciada pela pesquisadora junto à equipe do Pavilhão das Culturas Brasileiras em São Paulo, onde foram pensadas estratégias articuladas através de relatos da mediação cultural por parte dos sujeitos envolvidos. Como resultados da pesquisa, aprendi que a avaliação das ações educativas deva ser reflexiva no seu processo, para que possa desempenhar uma função transformadora e construtiva da própria mediação cultural / Mestre

This thesis attempts to demonstrate an approach to secondary art education which will emphasize the student's own experience as the basis of his art work. Furthermore, the students' learning activities are given a broader context by the inclusion of material from the history of art within the framework of the studio course. Such an integrated approach can give meaningful insight to the adolescent as he deals with experience in a visual form. This orientation to art education has evolved through the writer's own teaching experience and from reading the works of art educators. In preparation for the thesis, I researched the history of landscape painting, current material on art education and adolescent psychology, and the formal technical aspects of using color in art. The problem became that of integrating this diverse information into coherent teaching units. Landscape painting is the subject of the teaching units, or chapters; and each chapter deals with a different approach to the world of nature. The thesis consists of five chapters, including an introduction and a summary. The central chapters contain two sections: one based on the history of art and the other on related student experiences and classroom procedures. A specific lesson plan is included at the end of each chapter.

Orientador: Raul Aragão Martins / Banca: Regina de Cássia Rondina / Banca: Maria do Carmo Monteiro Kobayashi / Resumo: A violência é uma questão que vem sendo discutida em nossa sociedade devido ao amento na evidencia de consequências negativas que acarreta para toda a população. A escola, como parte da sociedade, não poderia fugir dessa situação e, embora os Ministérios da Educação e da Saúde preconizem atividades educativas preventivas sobre violência, estas ainda são incipientes no ambiente de sala de aula. Nesta perspectiva, partindo de uma abordagem comportamental, o objetivo deste trabalho é elaborar, aplicar e avaliar um conjunto de atividades na disciplina de Arte, no Ensino Fundamental I, voltado para a prevenção de violência escolar e bullying. O local da pesquisa foi uma Escola Municipal de Ensino Fundamental de uma cidade de pequeno porte do interior paulista. A pesquisa é um estudo quase experimental, descritivo e interventivo. Os participantes foram alunos do 5º ano do Ensino Fundamental I. Os procedimentos envolveram o levantamento de informações sobre a conduta dos alunos, com a utilização dos registros do livro de ocorrências da escola e elaboração das atividades de um programa de ensino. Estas atividades foram planejadas seguindo os procedimentos da teoria comportamental e procurando atender às características dos comportamentos levantados no livro de ocorrências. Os resultados mostram que o procedimento aplicado foi efetivo, pois os alunos apresentaram altas porcentagens de acertos sobre os conhecimentos trabalhados e passaram a reconhecer as situações de violência com cara... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Violence is an issue that has been discussed in our society due to the degree that it has reached that has brought a series of negative consequences for the entire population. The school as part of this society could not escape this situation and, although the Ministries of Education and Health advocate preventive educational activities on violence, these are still incipient in the classroom environment. In this perspective, starting from a behavioral approach, the objective of this work is to elaborate, apply and evaluate a set of activities in the discipline of Art, Elementary School I, focused on the prevention of school violence and bullying. The research site was a Municipal School of Elementary Education in a small city in the interior of São Paulo. The research is a quasi-experimental, descriptive and interventional study. The participants were students in the 5th year of elementary school I. The procedures involved the collection of information about the behavior of the students, using the records of the school's occurrence book and elaborating the activities of a teaching program. These activities were designed following the procedures of behavioral theory and trying to meet the characteristics of the behaviors raised in the book of occurrences. The results show that the applied procedure was effective, since the students presented high percentages of correct answers about the knowledge worked and began to recognize the violence with characteristics of bullying. It i... (Complete abstract click electronic access below) / Mestre

This doctoral investigation examines educational relationships between museums and schools, and more specifically between art museums and secondary art education. The author's analysis of literature pertaining to museum/school relationships and previous research conducted within Honours research establishes systematic contradictions as permeating the public role of museums and educational engagements with museums. In seeking explanation, a theoretical framework, derived from the social theories of Pierre Bourdieu is developed. The framework is used to interrogate the practices of school-based art education and art museums, and the agents involved, to examine how social relations operate to enable and constrain the representation and engagement of secondary school-based perspectives in the museum setting. Aspects that have previously remained unacknowledged are examined to reveal the interplay of factors that influence educational experiences in the art museum setting. Using the findings from the first stage of the analysis, in concert with the Bourdieuan framework, the author develops a model for learning in art museums that explores and articulates a new pedagogical terrain in the art educational use of art museums. A socio-cognitive framework is developed to reflect the strategic incorporation of museological knowledge, contemporary art education philosophies and practices and sociological theory. The aims of the model are to engage secondary art education and art museums using a sociological perspective, provide the tools for secondary art educators to be autonomous in the art museum setting, recognize that individuals relate to cultural materials and experiences in varying and multiple ways and develop educational encounters that predispose learners to engage in the cultural practice of art museum visiting. In intrinsically valuing art museum experiences as distinctive learning opportunities, the model provides teaching and learning strategies that allow for a multi-faceted, developmentally appropriate and cognitively based educational involvement. As the ultimate outcome of the research the model has significance for secondary art students, secondary art educators, teacher educators and art museum educators. It is unique in providing a secondary school-based art educational perspective on learning in art museums that is designed to establish a foundation for cultural practice, within and beyond the school years.

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Most adult human activities reflect a moral position. This thesis aims to show that art, as one form of human endeavour, follows suit. Consequently, art education should reflect this connection. In this thesis I make a philosophical investigation of one possible approach to art education. Furthermore, to be reflective of western society's emphasis on personal autonomy and authenticity, I contend that the only appropriate moral stance in education should be intuitive, non-calculating and non-utilitarian. / In order to philosophically illustrate and support my position, I use the aesthetic thoughts of Bergson and Nietzsche and put them in opposition. This is because they exemplify two opposite conceptions of morality that currently permeate society. Bergson's concept of aesthetics depends upon a stance of disinterest. Nietzsche's is utilitarian. The first exemplifies a humanist orientation that supports an altruistic morality and an aesthetics that puts emphasis on perception. This ethical position actually emerges from an active consciousness, a personal mode of being. On the other hand, Nietzsche's stance is a precursor to one strand of postmodern thought that may be described as a pragmatism oriented towards the achievement of power. This attitude excludes any possible form of disinterestedness. Indeed, Nietzscheism espouses a "noble egoism" and an impersonal mode of being that breeds a narcissistic and immature form of artistic creation. This is a creation that becomes a glorification and edification of oneself, albeit an impersonal self. This is a narcissistic attitude that finds an echo in some trends of contemporary art. / In regard to contemporary art, I argue that Nietzsche's influence may be seen in a deviant utilitarian morality that results in a scientistic and anti-aesthetic artistic current. This is a nihilistic trend evident in the work of artists such as Marcel Duchamp. As an alternative, I propose a Bergsonian "ethico-aesthetic" conception of art, inspired and encompassed by disinterestedness as a mature pedagogical value. From this perspective, instead of a neutral attitude, we maintain a more empathic position toward life and art. This altruistic morality produces a responsible and sensible art---concerned with the creation of common grounds. This suggests a need for a form of creation that unfolds from what Bergson could term a "mysterious" sentiment of obligation to bear witness to beauty, in all its forms, as a precisely non-utilitarian and disinterested experience of perception.

The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling.