Orientador: Marcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T12:03:58Z (GMT). No. of bitstreams: 1 Morandi_CarlaSilviaDiasdeFreitas_M.pdf: 13653661 bytes, checksum: 38975359a8d20cd0697398bd1715a085 (MD5) Previous issue date: 2005 / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Made available in DSpace on 2014-08-20T13:48:19Z (GMT). No. of bitstreams: 1 Clarice_Rego_Magalhaes_Dissertacao.pdf: 16096572 bytes, checksum: 804b076b040268c515b4cd82c77ee764 (MD5) Previous issue date: 2008-07-08 / O presente estudo constitui-se em pesquisa histórica a respeito de uma instituição de ensino superior: A Escola de Belas Artes de Pelotas (EBA), atual Instituto de Artes e Design da Universidade Federal de Pelotas (IAD-UFPEL). O foco da investigação é o surgimento e os primeiros 23 anos da instituição, ou seja, do ano de 1949, data da fundação, como curso particular, até a federalização, em 1972, quando passa a ser uma instituição pública de ensino. O trabalho é realizado dentro da proposta teórica da História Cultural. O método empregado é a pesquisa documental, e são utilizados principalmente os arquivos da instituição, um arquivo particular e entrevistas realizadas pela pesquisadora. Estes achados da pesquisa são abordados de acordo com o referencial teórico adotado. O trabalho investiga e analisa as condições que proporcionaram a criação desta instituição e também a sua trajetória até a federalização (assim, paralelamente, o estudo traz elementos construtores de identidade da instituição). Para tentar entender este processo, faz um apanhado da história da cidade de Pelotas, da história das instituições de ensino de arte e investiga a participação de personalidades que teriam influído decisivamente na implementação do curso em estudo. Com as informações trazidas por esta pesquisa, pôde-se inferir que o surgimento da Escola em 1949 se deu por uma combinação de fatores, os quais seriam o contexto ( a cidade de Pelotas ) e a atuação de indivíduos, como Dona Marina de Moraes Pires cujo empenho em proporcionar à cidade um curso em nível superior de arte foi o que fez a diferença e o pintor italiano Aldo Locatelli.

Orientador: Sonia Regina Albano de Lima / Resumo: Esta pesquisa de doutorado investiga a integração das artes na formação de professores de Arte para a Educação Básica no Brasil e na Espanha. A construção teórico-metodológica apresentada parte da problemática da incongruência entre o hibridismo na produção artística e as práticas artístico-pedagógicas fragmentadas, o que revela o paradoxo entre a formação especialista de professores no Ensino Superior e a exigência do ensino integrado das artes na Educação Básica. A abordagem histórica do tema apresenta uma síntese dos ordenamentos que regem o ensino das artes na Educação Básica e no Ensino Superior, no Brasil e na Espanha. A revisão de literatura aborda a integração das artes, a polivalência e a interdisciplinaridade apontam para: a superação do processo de fragmentação das artes com a emergente interterritorialidade na cena artística; a valorização do artista polivalente; a compreensão epistemológica do termo polivalência no ensino das artes e, principalmente, a necessidade da formação de um perfil docente polivalente sob a perspectiva da interdisciplinaridade que corresponda à produção artística integrada e híbrida e às prescrições legislativas para a Educação Básica. A pesquisa de campo foi realizada por meio da análise curricular e de entrevistas semiestruturadas realizadas com 22 professores atuantes no Ensino Superior. Por meio do levantamento dos cursos de Licenciatura na área de Arte no Brasil, foram analisadas três graduações que se propõe formar o professor de Art... (Resumo completo, clicar acesso eletrônico abaixo) / Resumen: Esta investigación doctoral se dedica a la integración de las artes en la formación de profesores de Arte para la Educación Básica en Brasil y España. La construcción teórico-metodológica presentada parte del problema de la incongruencia entre el hibridismo en la producción artística y las prácticas artístico-pedagógicas fragmentadas, lo que revela la paradoja entre la formación especializada de docentes en Educación Superior y el requisito de la enseñanza integrada de las artes en la Educación Básica. La revisión de la literatura sobre la integración de las artes, la polivalencia y la interdisciplinariedad apunta a: superar el proceso de fragmentación de las artes con la interterritorialidad emergente en la escena artística; la apreciación del artista versátil; la comprensión epistemológica del término polivalencia en la enseñanza de las artes y, principalmente, la necesidad de la formación de un perfil de profesor polivalente desde la perspectiva de la interdisciplinariedad que corresponde a la producción artística integrada e híbrida y las prescripciones legislativas para la Educación Básica. La investigación de campo se llevó a cabo mediante análisis curriculares y entrevistas semiestructuradas con 22 profesores que trabajan en Educación Superior. A través de la investigación de cursos de grado en el campo del Arte en Brasil, se analizaron tres títulos, cuyo objetivo es capacitar al profesor de Arte desde la perspectiva de la integración de las artes: de la UFPR-Litoral, ... (Resumen completo clicar acceso eletrônico abajo) / Abstract: This doctoral research investigates the integration of the arts in the training of Art teachers for Basic Education in Brazil and Spain. The theoretical-methodological construction presented starts from the problem of incongruence between hybridism in artistic production and fragmented artistic-pedagogical practices, which reveals the paradox between the specialist training of teachers in University Education and the requirement of integrated teaching of the arts in Basic Education. The literature review on the integration of the arts, polivalence like versatily, and interdisciplinarity points to: overcoming the process of fragmentation of the arts with the emerging interterritoriality in the artistic scene; the appreciation of the versatile artist; the epistemological understanding of the term polyvalence in the teaching of the arts and, mainly, the need for the formation of a polyvalent teaching profile from the perspective of interdisciplinarity that corresponds to the integrated and hybrid artistic production and the legislative prescriptions for Basic Education. The field research was carried out through curriculum analysis and semi-structured interviews with 22 professors working in Universities. Through the survey of undergraduate courses in the field of Art in Brazil, three degrees were analyzed, which aims to train the Art teacher from the perspective of the integration of the arts: the Degree in “Licenciatura em Artes” at UFPR-Litoral, the “Licenciatura interdiscipl... (Complete abstract click electronic access below) / Doutor

This paper seeks to further explore stages an artist moves through that can be applied to teaching art, and helping students understand how to access their creativity. This project involves observation and an auto-ethnographic approach in order to best determine stages artists naturally move through when creating art. In order to most effectively suggest a teachable creative process for secondary art students, this paper will further explore cognitive and disciplinary categories in art education by applying principles and stages to a curricular guide (or lesson plans) for secondary art educators. Topics and studies of design thinking, creative inquiry, studio habits, creative processes, the National Assessment for Educational Progress (NAEP, 2008), and National Core Art Standards will be reviewed and expanded upon in this paper. Using these inputs, a series of 4 recursive, creative stages were observed and applied to teaching art at the secondary (6th-12th grade) levels.

Depuis 2001, le Programme de formation de l’école québécoise impose l’enseignement de la compétence « apprécier » dans les quatre disciplines artistiques. Ce mémoire s’intéresse à l’influence que peuvent avoir des activités intégrant les arts plastiques à la musique sur l’expérience d’appréciation musicale d’élèves de sixième année du primaire. Plus spécifiquement, elle vise à rendre compte des différentes dimensions présentes dans la description que font les élèves de leur expérience d’appréciation ainsi qu’à comprendre de quelle façon les activités d’appréciation intégrant les arts plastiques à la musique affectent la verbalisation que font les élèves de cette expérience. La recherche prend la forme d’études de cas réalisées auprès de cinq élèves de sixième année du primaire. Ces élèves, ainsi que tous les élèves de leur classe, ont participé à une activité d’appréciation musicale intradisciplinaire ainsi qu’à deux activités d’appréciation interdisciplinaires. Après chacune des activités, ces cinq élèves ont été rencontrés individuellement. Au cours d’entrevues semi-dirigées, il leur était demandé de rendre compte de leur expérience d’appréciation. Quatre grandes tendances ont émergé de l’analyse des propos des élèves, soit le sentiment de mieux s’approprier l’œuvre entendue, une verbalisation plus précise des éléments perçus, une verbalisation plus précise des sentiments ressentis et enfin, une forme de distraction par rapport à l’œuvre entendue. Au terme de cette étude, il semble que l’utilisation d’activité d’appréciation intégrant les arts plastiques à la musique, sans faire l’objet d’un usage systématique, pourrait constituer une forme de différenciation pédagogique qui serait utile à certains types d’apprenants. / Since 2001, the Quebec school program states that an « appreciation » competency has to be taught within all four artistic school disciplines. This study describes the influence of activities integrating visual arts and music on the appreciation experience of 6th grade students. More specifically, this study aims to relate the different dimensions that can be found in the students’ verbal account of their appreciation experience and to show how the interdisciplinary activities affect their verbalization of these dimensions. Five case studies conducted with 6th grade elementary school students are presented. These five students, along with the other students in their class, have participated in one intradisciplinary activity and two interdisciplinary activities integrating visual arts and music. Following each activity, the students were met for semi-structured interviews in which they were asked to share their appreciation experience. Four tendencies have emerged from qualitative data analysis: a more insightful listening, a more accurate description of perceptual elements, a more accurate description of the student’s feelings and finally a form of distraction from the music. It appears that appreciation activities which integrate visual arts and music could be, if not a systematic approach, a way to differentiate teaching in a way that could be helpful to some types of learners.

Depuis 2001, le Programme de formation de l’école québécoise impose l’enseignement de la compétence « apprécier » dans les quatre disciplines artistiques. Ce mémoire s’intéresse à l’influence que peuvent avoir des activités intégrant les arts plastiques à la musique sur l’expérience d’appréciation musicale d’élèves de sixième année du primaire. Plus spécifiquement, elle vise à rendre compte des différentes dimensions présentes dans la description que font les élèves de leur expérience d’appréciation ainsi qu’à comprendre de quelle façon les activités d’appréciation intégrant les arts plastiques à la musique affectent la verbalisation que font les élèves de cette expérience. La recherche prend la forme d’études de cas réalisées auprès de cinq élèves de sixième année du primaire. Ces élèves, ainsi que tous les élèves de leur classe, ont participé à une activité d’appréciation musicale intradisciplinaire ainsi qu’à deux activités d’appréciation interdisciplinaires. Après chacune des activités, ces cinq élèves ont été rencontrés individuellement. Au cours d’entrevues semi-dirigées, il leur était demandé de rendre compte de leur expérience d’appréciation. Quatre grandes tendances ont émergé de l’analyse des propos des élèves, soit le sentiment de mieux s’approprier l’œuvre entendue, une verbalisation plus précise des éléments perçus, une verbalisation plus précise des sentiments ressentis et enfin, une forme de distraction par rapport à l’œuvre entendue. Au terme de cette étude, il semble que l’utilisation d’activité d’appréciation intégrant les arts plastiques à la musique, sans faire l’objet d’un usage systématique, pourrait constituer une forme de différenciation pédagogique qui serait utile à certains types d’apprenants. / Since 2001, the Quebec school program states that an « appreciation » competency has to be taught within all four artistic school disciplines. This study describes the influence of activities integrating visual arts and music on the appreciation experience of 6th grade students. More specifically, this study aims to relate the different dimensions that can be found in the students’ verbal account of their appreciation experience and to show how the interdisciplinary activities affect their verbalization of these dimensions. Five case studies conducted with 6th grade elementary school students are presented. These five students, along with the other students in their class, have participated in one intradisciplinary activity and two interdisciplinary activities integrating visual arts and music. Following each activity, the students were met for semi-structured interviews in which they were asked to share their appreciation experience. Four tendencies have emerged from qualitative data analysis: a more insightful listening, a more accurate description of perceptual elements, a more accurate description of the student’s feelings and finally a form of distraction from the music. It appears that appreciation activities which integrate visual arts and music could be, if not a systematic approach, a way to differentiate teaching in a way that could be helpful to some types of learners.

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No. of bitstreams: 1 barreto_cm_dr_ia.pdf: 2700355 bytes, checksum: 660f76c0d12a777298592d08636a6406 (MD5) Previous issue date: 2018-08-25 / A tese intitulada, Imagens, percursos e narrativas: relações possíveis entre Arte, Currículo e Educação Profissional foi construída tendo como prerrogativa demonstrar a Arte uma ignitora de processos cognitivos, perceptivos e sócio afetivos que extrapolam o campo profissional tendo como hipótese o contato com as reflexões e argumentos da Arte, fundamentalmente por meio das imagens, contribui para a formação dos/ as estudantes, independente do contexto profissional. A presente tese utiliza-se da análise do discurso (RICOUER) e da pesquisa como narrativa biográfica (NÓVOA) como procedimento metodológico e foi organizada em duas partes complementares; na primeira parte foi realizada a revisão bibliográfica contemplando como as diferentes concepções de Currículo (CASEMIRO/ MACEDO e SILVA) e Trabalho (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO e VENTURI) assim como as questões da visualidade, cultura visual, estética e criatividade (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN e OSTROWER) se relacionam com a questão da formação profissional e como estas concepções se relacionam com as orientações curriculares (TROJAN) e documentos oficiais da educação profissional. Na segunda parte é apresentado como tais questões se relacionam no espaço de uma escola técnica profissionalizante de nível médio em duas turmas do eixo de Produção Cultural e Design por meio de projetos cujos objetivos são a produção de imagens. Para construção das análises, foram selecionados projetos e atividades, nos quais a autora atuou como orientadora, extrapolando as questões técnicas da habilitação profissional, exigindo escolhas e posicionamentos diante das situações entre aqueles que tratavam da produção de imagens e o debate das questões étnico raciais e de gênero. As experiências relatadas aconteceram na Etec Carapicuíba, uma escola técnica estadual e gratuita, caracterizada, como seus/ as docentes, estudantes e práticas na segunda parte do trabalho. As considerações finais abordam as relações do currículo e a formação continuada de docentes e o papel ignitor da Arte no desenvolvimento das competências profissionais e pessoais dos estudantes e as possibilidades da Arte no currículo da Educação Profissional. / The thesis entitled, Images, paths and narratives: possi- ble relations between Art, Curriculum and Professional Education was built with the prerogative to demonstrate Art as an igniter of cognitive, perceptive and affective partner processes that extrapolate the professional field having as hypothesis the contact with the reflections and Arguments of Art, mainly through images, contributes to the formation of students, regardless of the professional context. The present thesis is using the discourse analysis (RICOUER) and the research such as biographical narrative (NÓVOA) as methodological procedure and was organized in two complementary parts; in the first part, a bibliographical review was carried out contemplating how the different conceptions of Curriculum (CASEMIRO/MACEDO and SILVA) and Work (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO and VENTURI) as well as the questions of visuality, visual culture, aesthetics and creativity (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN and OSTROWER) are related to the issue of vocational training and how these conceptions relate to the curriculum guidelines (TROJAN) and official vocational education documents. The second part presents how such questions relate in the space of a vocational technical school of medium level in two groups of the axis of Cultural Production and Design through projects the objectives of which are the production of images. For the construction of the analyzes, projects and activities were selected, in which the author acted as a guide, extrapolating the technical issues of professional qualification, demanding choices and positioning in the face of situations that involved the production of images and the debate of racial and ethnic issues of gender. The experiences reported took place at Etec Carapicuíba, a free state technical school, characterized teachers, students and practices in the second part of the work. The final considerations deal with the curriculum relations and the ongoing training of teachers and the ignator role of Art in the development of students’ professional and personal skills and the possibilities of Art in the Professional Education curriculum. / La tesis titulada , Imágenes, trayectorias y narrativas: relaciones posibles entre Arte, Currículo y Educación Profesional fue construida teniendo la prerrogativa demostrar el Arte una ignitora de procesos cognitivos, perceptivos y socio afectivos que extrapolan el campo profesional teniendo la hipótesis el contacto con las reflexiones y argumentos del Arte, fundamentalmente por medio de las imágenes, contribuye a la formación de los / las estudiantes, independientemente del contexto profesional. La presente tesis se utiliza del análisis del discurso (RICOUER) y de la investigación narrativa biográfica (NÓVOA) como procedimiento metodológico y fue organizada en dos partes complementarias; en la primera parte se realizó la revisión bibliográfica contemplando como las diferentes concepciones de Currículo (CASEMIRO / MACEDO y SILVA) y Trabajo (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO y VENTURI) las cuestiones de la visualidad, cultura visual, estética y creatividad (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN y OSTROWER) se relacionan con la cuestión de la formación profesional y lo modo que estas concepciones se relacionan con las orientaciones curriculares (TROJAN) y documentos oficiales de la educación profesional. En la segunda parte se presenta lo modo que las cuestiones se relacionan en el espacio de una escuela técnica profesional de nivel medio en dos grupos del eje de Producción Cultural y Diseño en proyectos cuyos objetivos son la producción de imágenes. Para la construcción de los análisis, se seleccionaron proyectos y actividades, en los que la autora fuera orientadora, extrapolando las cuestiones técnicas de la habilitación profesional, exigiendo elecciones y posicionamientos ante las situaciones entre aquellos que trataban de la producción de imágenes y el debate de las cuestiones étnicas raciales y de género. Las experiencias relatadas ocurrieron en Etec Carapicuíba, una escuela técnica estatal y gratuita, caracterizada, por medio de sus docentes, estudiantes y prácticas en la segunda parte del trabajo. Las consideraciones finales abordan las relaciones del currículo y la formación continuada de docentes y el papel ignitor del Arte en el desarrollo de las competencias profesionales y personales de los estudiantes y las posibilidades del Arte en el currículo de la Educación Profesional.

Made available in DSpace on 2016-12-08T16:19:06Z (GMT). No. of bitstreams: 1 Nanny.pdf: 2550626 bytes, checksum: 6cf854a82093458446650a0e9250403b (MD5) Previous issue date: 2010-10-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study goes between graphic image in Art Teaching and knowledge in Art towards students with special needs in the Area of Pervasive Developmental Disorders focusing autism. Due to this subject, it was important to deepen these non-verbal languages studies which link the student with autism and the visual arts. The qualifying approach of this investigation was the study of an autistic female young student‟s graphic drawings whose works have been gathered in class at a Special Education school in Curitiba. To do that, it was used that graphic image as a language in progress as well as a non-verbal expression which cannot be split from human development as it is understood in its cognitive, affective, and psicomotor issue. Also, it has been persuited art and autism as an inclusive approach. In order to give support to that investigation, some important authors have been focused, such as Gombrich, Francastel Berger, Langer, Pino due to their work on image as a cultural production. In addition, Vigotsky, Wallon, Oliveira, Dantas, Molon have also been studied as they have shown high standards in their historic and cultural approaches. Shwartzmann, Rivière, Frith, Orrú, Bosa among many other scholars have also been studied as they have produced papers on autism and the pedagogic process, along with Pillotto, Meira, Pillar, Martins, Ferreira, Vigotsky, Derdyk, who managed to gather drawing and art theaching in the same role. Yet again, those scholars have given grounds to this investigation as they have broaden to proceed this investigator studies with the relations among autism, affectionate, singularity, and inclusion. For that, this investigator has collected data during the year of 2009 with the help of two trainee teachers. Well, the analysis was performed in three axes: images and telling tales; images and toys; images and Art. During data analysis these axes were defined by the verification of some elements in the student‟s graphic work. The investigator has taken for granted that the complexity of autism asks for some alternative paths of understanding the expression of this student, considering the impossibility of performing a pattern of that student‟s drawings. In short, the study concludes the uniqueness of these autistic students‟ graphic language, and the importance of art and affection in pedagogical interventions as an inclusive issue / Esta pesquisa aborda a imagem gráfica no Ensino de Arte como mediadora do conhecimento em Arte para alunos com necessidades educacionais especiais Área de Transtornos Globais do Desenvolvimento, com foco no autismo. O recorte teórico é justificado pela necessidade de se refletir sistematicamente o universo expressivo das linguagens não-verbais que permeiam a relação pedagógica com o aluno autista e o potencial que as artes visuais oferecem nesta relação. Sendo uma pesquisa de abordagem qualitativa, delimitou-se como objeto de estudo a análise da produção gráfica de uma aluna autista, a partir da coleta realizada na sala de aula de uma turma de uma escola de Educação Especial em Curitiba. Utilizou-se a observação participante e o estudo de caso único. O objetivo principal foi identificar e analisar a representação gráfica de uma aluna autista como forma de expressão emocional e mediadora de aprendizagens em Arte. Fundamentaram-se as especificidades da imagem gráfica enquanto linguagem processual e expressão não-verbal, cuja manifestação é inseparável das fases de desenvolvimento humano, considerado sob o parâmetro cognitivo, afetivo e psicomotor. Focalizou-se o autismo e possíveis intervenções pedagógicas da Arte sob uma perspectiva inclusiva. Dentre outros autores, refere-se a Gombrich, a Francastel Berger, a Langer, a Pino, que fundamentaram a relação da imagem com a produção cultural; ainda a Vigotsky, a Wallon, a Oliveira, a Dantas, a Molon, que contribuíram para a abordagem histórico-cultural e para a dimensão social e afetiva da aprendizagem; a Schwartzmann, a Rivière, a Frith, a Orrú, a Bosa, entre outros que fundamentaram o autismo e o processo pedagógico; a Ferreira, a Martins, a Pillar, a Vigotsky, a Derdyk, a Meira, a Pillotto, que fundamentaram o desenho e o ensino de arte com alguns desdobramentos que possibilitaram à pesquisadora integrar esses campos de estudo, pensados a partir das interações que estão relacionadas com afeto, singularidade e inclusão. A partir do processo de coleta de dados realizado ao longo do ano letivo de 2009 com a colaboração de duas professoras estagiárias, abordou-se o estudo de caso de uma jovem autista cuja produção gráfica foi analisada a partir de três eixos mediadores: imagens e histórias contadas; imagens e brinquedos e imagens de Arte. Durante a análise dos dados esses eixos foram delimitados pela pesquisadora a partir da verificação dos elementos presentes na produção gráfica da aluna, partindo-se do pressuposto de que a complexidade do autismo propõe caminhos alternativos de compreensão da expressão do aluno, haja vista não ser possível estabelecer um padrão de análise nos desenhos. Ao contrário, o estudo finaliza com a abordagem das singularidades da linguagem gráfica do aluno autista e a importância da Arte e do afeto nas intervenções pedagógicas como fator inclusivo do mesmo

Made available in DSpace on 2016-12-08T16:19:09Z (GMT). No. of bitstreams: 1 priscila.pdf: 2073278 bytes, checksum: 89e98e7379a02c5e7d2b7466d6b091e4 (MD5) Previous issue date: 2011-10-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims at investigate how the families approach their children with disabilities artistic formation in private schools, checking the concepts that those families have about Art and the Art teaching and how they lead the artistic and cultural investment of their children in this field. The study is made through the Bourdieu s view, which emphasizes the transmission of symbolical goods through the cultural capital of the families, understanding the artistic formation of the student with disabilities from these relations established with the school. As it is a qualitative research, the data collection method used was the interview, what provided wider range of information, being full transcribed, aiming at the research reliability. The analysis started from the results obtained through the interviewed mothers speech, enabling the selection of parts that had greater wealth of data. A difficulty found was to find the families with the profile designed in the beginning, that is, families that come from social and economic elites, willing to participate in an academic work and report its path. The results about the Art teaching concept and also about the Art itself, such as the artistic and cultural investment of these families, was meaningful, in the sense of promote theoretical and practical reflections within the families interviewed, once that, in general, they don t have the habit of attending exhibitions and cultural spaces, what reflects on the child artistic formation. The realization of this research enabled new studies about family, art and inclusion, areas that need contributions about accessibility and inclusion of art to families who have children with disabilities / A presente dissertação tem como objetivo investigar como as famílias abordam a formação artística dos filhos com deficiência no âmbito das escolas particulares, verificando os conceitos que essas famílias possuem acerca da Arte e do ensino de Arte e como conduzem o investimento artístico e cultural de seus filhos nesse campo. O trabalho se constitui através da ótica bourdieusiana, que enfatiza a transmissão de bens simbólicos através do capital cultural das famílias, compreendendo a formação artística do aluno com deficiência a partir dessas relações estabelecidas com a escola. Por ser uma pesquisa qualitativa, o método de coleta de dados utilizado foi a entrevista, o que proporcionou maior abrangência de informações, sendo transcrita na íntegra, visando a fidedignidade da pesquisa. A análise partiu dos resultados obtidos através das falas das mães entrevistadas, possibilitando a seleção de trechos que continham maior riqueza de dados. Uma dificuldade encontrada foi a de contatar famílias com o perfil traçado inicialmente, ou seja, famílias de elites econômicas e sociais, dispostas a participar de um trabalho acadêmico e relatar sua trajetória. Os resultados sobre a concepção do ensino de Arte e também sobre a própria Arte, bem como o investimento artístico e cultural dessas famílias foi significativo, no sentido de promover reflexões teóricas e práticas nas próprias famílias entrevistadas, uma vez que, no geral, elas não possuem o hábito de frequentar espaços expositivos e culturais, o que reflete na formação artística do filho. A efetivação desta pesquisa possibilitou a abertura a novos estudos sobre família, arte e inclusão, áreas que necessitam contribuições acerca da acessibilidade e inclusão da Arte às famílias que possuem filhos com deficiência

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’.