This paper delineates meaningful relationships of passions, emotions, feelings, affections, nuances and aural perceptions of expressions and utterances, for understanding human artistic possibilities historically and contemporarily in the fraternal arts of music and poetry, with reference to sounds, silences, sequences, rhythms, rhymes, repetitions, retards, accelerations, tempos, harmonies, melodies, forms, etc., in four poetic and three musical compositions uniquely created by its author.

Newspapers often report on the violation of learners’ rights. Many of these violations and critical incidents are related to the right to freedom of expression, which is internationally viewed as a core right in a democracy. My inquiry focused on grade 11 learners’ understanding of the right to freedom of expression. It is important to understand learners’ understanding of the right to freedom of expression, as they are the leaders of tomorrow and the right to freedom of expression is central to the survival of democracy. This inquiry was informed by an interpretivist paradigm. Atlas.ti™ was used to systematically analyse the data and categorise it into three hermeneutic units. This computer-aided qualitative data analysis software (CAQDAS) tool facilitated the process of analysis and enhanced the validity of the research. During the inductive process of analysis two patterns crystallised, viz. the absolutising of the right to freedom of expression by some learners and the lack of skills to implement the limitation to the right to freedom of expression in schools. The main findings indicated that some learners did not have knowledge regarding the right to freedom of expression, although most learners were aware that they could speak their minds under this right. Furthermore, learners didn’t seem to know how to exercise the right to freedom of expression. One of the factors disrupting the implementation of the right to freedom of expression in schools is the perpetuation of an authoritarian culture in schools. Theoretical and practical recommendations are suggested and avenues for future research are identified. / Thesis (PhD (Education Management))--University of Pretoria, 2005. / Education Management and Policy Studies / unrestricted

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O trabalho Estação da Luz: desenho e realização de um painel para o saguão 2 de acesso às plataformas de trem mostra o percurso na criação do Painel Estação da Luz. Este painel, realizado pela autora deste trabalho, é composto por 14 módulos e mede 120 x 85 x 1 cm. Foi afixado nas paredes contíguas às escadas fixas do saguão 2, por intermédio das quais da área de integração entre as linhas da Companhia Paulista de Trens Metropolitanos (CPTM) e o Metrô paulistano se atinge a plataforma central da Estação da Luz. O objetivo do painel, além do estético, é travar uma relação imanente com a Estação da Luz, em cujo subsolo encontra-se instalado. Isso determinou a escolha de sua matéria-prima, ferro oxidado que remete ao material constituinte da estrutura de estação, ferro fundido , e de seu desenho. Este advém principalmente de sinais representativos da estação. Além de dialogar com a estação de trens, o painel interage com a arquitetura na qual está instalado, quanto ao partido adotado, a ambientação e os condicionantes locais. Assim, a análise desse objeto artístico insere-se no debate sobre as relações entre Arte e Arquitetura. A matéria-prima e a técnica para realização do painel também foram estudadas em função de questões estéticas. Neste sentido, foram feitos vários experimentos. / The work Estação da Luz: desenho e realização de um painel para o saguão 2 de acesso às plataformas de trem (Estação da Luz: design and realization of a panel for the Hall 2 accessing to railway platform) shows the trajectory of the Estação da Luz Panel creation by its author. The 120 x 85 x 1 cm panel is composed of 14 modules. It was installed on the walls at the sides of the Hall 2 fixed ladder that connects the Companhia Paulista de Trens Metropolitanos (CPTM) and São Paulo Metrô lines integration area and the central platform of Estação da Luz. The panel\'s goal, besides aesthetic, is to engage in an immanent relationship with Estação da Luz, beneath which it is installed. That determined the choice of oxidized iron as its raw material as a reference to the railway station material, cast iron , and of its design. The latter originated mainly from the station representative signs. Besides dialoguing with the railway station, the panel interacts with the architecture onto which it is installed, in terms of adopted proposal, ambience and local conditionings. So, the analysis of that artistic object inserts in the discussion about relationships between Art and Architecture. In the panel\'s realization, aesthetic issues also commanded the study of raw material and technique, and in this sense several essays were made.

Made available in DSpace on 2016-04-26T20:24:18Z (GMT). No. of bitstreams: 1 Rodrigo Guimaraes Buchiniani.pdf: 693510 bytes, checksum: d918aded62d0a94871f5ad2744dbbb83 (MD5) Previous issue date: 2016-03-07 / After the more than twenty seven years of existence of the 1988 Brazilian Federal Constitution which interrupted, since the beginning of the Republic in 1889, a long period of countless limitations of the individual and artistic liberties, to ensure through all of the text the effectiveness of making art to be the duty of the State and the right of the citizen to express oneself and to artistically interfere in the day-to-day of society upon stimulating or repressing behaviors. The dissertation covers the Fundamental Right of Freedom of Artistic Expression in public space and has, as a starting point, the actual Constitution of 1988 to verify the amplitude of the devices that are directly or indirectly related to making art that for an aspect to ensure the free initiative of the artist and, as another point, it indicates possible limitations. Based on the constitutional hermeneutics as a tool of dialogue so that, with general and abstract language, characteristics of the constitutions, of the text upon unveiling other possibilities of constitutional interpretation and of a possible theoretical application for the maintenance of juridical stability and order because of the evaluative content of the constitutional guarantee of freedom of artistic expression. Beyond being one of the formative elements of the Brazilian People, the culture revealed in artistic expression assumes, in the social context and in the public space, the maximum force of a free, plural, and democratic country / Decorridos mais de vinte e sete anos de vigência da Constituição Federal Brasileira de 1988que interrompeu, desde o início da República em 1889, um longo período de inúmeras limitações às liberdades individuais e artísticas, ao assegurar por todo o texto a efetividade do fazer artístico, hoje está garantido o dever do Estado e direito do cidadão de se expressar artisticamente no dia a dia da sociedade ao estimular ou reprimir comportamentos. A dissertação cuida do Direito Fundamental à Liberdade de Expressão Artística no espaço público e tem como ponto de partida o próprio texto Constitucional de 1988 para verificar a amplitude de dispositivos que direta ou indiretamente se relacionam ao fazer artístico que,por um aspecto, asseguram a livre iniciativa ao artista e, por outro, indicam possíveis limitações. Com base na hermenêutica constitucional como ferramenta de diálogo para com a linguagem geral e abstrata,características das constituições, do texto ao desvendar outras possibilidades da interpretação constitucional e de uma possível aplicação teórica para a manutenção da estabilidade do ordenamento jurídico por conta do conteúdo valorativo da garantia constitucional da liberdade de expressão artística. Além de ser um dos elementos formadores do Povo brasileiro, a cultura revelada na expressão artística assume no contexto social e no espaço público, a força máxima de um país livre, plural e democrático

The aim of this project is to develop a legally relevant theory of artistic value, based on which a judge can reliably determine whether a work has sufficient such value to be granted constitutional protection, even though it would otherwise count as obscene. Within this framework I argue that a moral flaw can count as an aesthetic virtue in a narrative work, at least when the audience learns something from the immoral content of the work. Since expert testimony is sometimes required in legal cases about artistic value, I also develop a legally applicable theory of aesthetic testimony, such that expert testimony can be used to determine the valence of aesthetic properties, which is essential in determining a work‘s overall artistic value. My theory of which properties of works are relevant to their aesthetic evaluation depends both on which categories the work is appreciated in, and on the conventions of those categories. I address these issues within Canadian and American legal contexts. / text

Darbe atlikta teorinė sociokultūrinės meninės raiškos tobulinimo galimybės ugdant būsimus mokytojus analizė. Skatinant moksleivių raišką ir sociokultūrinės raiškos plėtrą, svarbu juos išmokyti kurti supančios aplinkos kultūrą, o ne tik ja remtis, būti jos vartotojais. Tai labai svarbi asmenybės nuostata. To siekiama remiantis moksleivių socialine kultūrine raiška. Ši aplinkybė verčia išskirti sociokultūrinę raišką kaip aktualią moksleivių ugdymo ir mokytojo rengimo problemą. Anketinės apklausos metu buvo atliktas tyrimas, kurio tikslas atskleisti sociokultūrinės meninės raiškos tobulinimo galimybes ugdant būsimus mokytojus. Tyrimo objektas: būsimų mokytojų sociokultūrinė meninė raiška. Tyrime dalyvavo 183 Šiaulių universiteto studentų ir 60 Šiaulių miesto meno mokytojų, parinkti atsitiktinės atrankos būdu. Empirinėje dalyje nagrinėjami sociokultūrinės meninės raiškos vaidmuo būsimų mokytojų ir meno mokytojų profesiniam tobulėjimui. Svarbiausios empirinio tyrimo išvados: 1. Studentai, lankę mokykloje būrelius, jiems taip pat yra poreikis lankyti meno kolektyvą ir universitete. Tie studentai, kurie lanko meno kolektyvus, turi reikšmės ir jų aktyvumui visuomeniniuose renginiuose, spektaklių ar koncertų lankymui. 2. Tiek apklaustieji studentai, tiek ir meno mokytojai lanko meno kolektyvus, norėdami patenkinti pomėgius, poreikius, o lankyti pasirinktą kolektyvą nusprendžia dažniausiai patys, tai rodo, jog ši meninės saviraiškos rūšis yra labai svarbi ir aktuali asmeniškai. 3... [toliau žr. visą tekstą] / In this work theoretical analysis of possibilities to improve skills of artistic expression qualifying teachers is presented. Working with students of different age groups showing possible ways of expressing themselves and improving skills of artistic expression is very important. To improve skills of artistic expression is the main goals set for the qualification course. It enables young people to create positive atmosphere and cultural environment in reality, and prevents them from being only consumers. Improvement of artistic skills is assumed to be the major goal when developing any personality. This aim could be achieved by appealing to students' skills of sociocultural expression. Therefore development of sociocultural skills is relevant while preparing teachers for their future job. The questionnaire has been prepared and the research has been done to educe possibilities for improving skills of artistic expression during the teachers' qualification course. Different ways of artistic expression has been observed. 183 students of Siauliai university and 60 teachers currently working in Siauliai schools have answered the questions given and participated in the research. The empirical part of the paper determines how skills of artistic expression effect professional development of a teacher. The most important implications of the research done are: 1. Students, who participated in different extra curriculum activities and clubs at school, tend to join clubs and art groups... [to full text]

Vaikų globos namuose augantys vaikai dažnai atsineša individualią traumuojančią patirtį ir psichologines pasekmes, kurias sukėlė neišreikšti, neįsisąmoninti jausmai.. Vaikų globos namuose dirbantis socialinis darbuotojas, kurio pagrindinė profesinė misija – padėti asmeniui, šeimai spręsti savo socialines problemas , neturi pakankamų įgaliojimų ir neturi pakankamai metodinių priemonių, patirties ir žinojimo, kaip sudaryti sąlygas vaikui išreikšti savo jausmus ir reflektuoti savo jausmų, patirties tema. Be to, metodinė priemonė rodo būdus, kaip siekti holistinio ugdymo, apimančio emocinį, socialinį vystimąsi, savęs ir meno pažinimą. Todėl labai aktualus yra specializuotų metodikų kūrimas. Tyrimo objektas – Socialinio darbo metodų plėtotė, takant meninės raiškos terapinius žaidimus. Darbo tikslas – ištirti meninės raiškos terapinių žaidimų kaip socialinio darbo metodų plėtotės vaikų globos namuose tikslingumą. Uždaviniai: 1. Atskleisti vaikų globos namuose augančių vaikų socializacijos ypatumus ir išanalizuoti su jais dirbančio socialinio darbuotojo veiklos specifiką. 2. Aptarti meninės raiškos terapinius žaidimus kaip socialinio darbuotojo iniciatyvą pozityviai globos namuose augančių vaikų socializacijai. 3. Sudaryti vaikų meninės raiškos terapinių žaidimų programą - metodinę priemonę vaikų globos namų socialiniams darbuotojams ir patikrinti jos tikslingumą Ekspertų metodu. 4. Pateikti išvadas ir rekomendacijas. Tyrimo metodologija. Atliktas kokybinis tyrimas. Tyrimo... [toliau žr. visą tekstą] / The application of therapeutical methods is important for social work, especially for social workers who work in children‘s homes and are involved in their positive socialisation. Using the games of artistic expression as a therapy in working with children with no families, it is possible to promote their development, the ability of the children to get into their inner world, to get to know their feelings and to develop the harmony of their personality. The aim of this research was to to explore the necessity of artistic expression therapeutical games, as a method of social work in a children‘s home, and to work out a program ‚The Program of Artistic Expression Therapeutical Games: Supplementary Booklet for Social Workers of Children‘s Homes‘, the expedience of which would be approved by the Expert Method. The objectives of the research were to analyse the particularities of work of a social worker in a children‘s home, to disclose the particularities of socialisation of the children who are raised in children‘s homes, to discuss the games of artistic expression as therapy and one of the ways of communication between the children living in children‘s homes and the social workers, to work out the program ‚The Program of Artistic Expression Therapeutical Games: Supplementary Booklet for Social Workers of Children‘s Homes‘ and to test its expedience by the Expert Method. The qualitative method was used in the work. Such methods as the analysis of literature sources, the... [to full text]

O trabalho Estação da Luz: desenho e realização de um painel para o saguão 2 de acesso às plataformas de trem mostra o percurso na criação do Painel Estação da Luz. Este painel, realizado pela autora deste trabalho, é composto por 14 módulos e mede 120 x 85 x 1 cm. Foi afixado nas paredes contíguas às escadas fixas do saguão 2, por intermédio das quais da área de integração entre as linhas da Companhia Paulista de Trens Metropolitanos (CPTM) e o Metrô paulistano se atinge a plataforma central da Estação da Luz. O objetivo do painel, além do estético, é travar uma relação imanente com a Estação da Luz, em cujo subsolo encontra-se instalado. Isso determinou a escolha de sua matéria-prima, ferro oxidado que remete ao material constituinte da estrutura de estação, ferro fundido , e de seu desenho. Este advém principalmente de sinais representativos da estação. Além de dialogar com a estação de trens, o painel interage com a arquitetura na qual está instalado, quanto ao partido adotado, a ambientação e os condicionantes locais. Assim, a análise desse objeto artístico insere-se no debate sobre as relações entre Arte e Arquitetura. A matéria-prima e a técnica para realização do painel também foram estudadas em função de questões estéticas. Neste sentido, foram feitos vários experimentos. / The work Estação da Luz: desenho e realização de um painel para o saguão 2 de acesso às plataformas de trem (Estação da Luz: design and realization of a panel for the Hall 2 accessing to railway platform) shows the trajectory of the Estação da Luz Panel creation by its author. The 120 x 85 x 1 cm panel is composed of 14 modules. It was installed on the walls at the sides of the Hall 2 fixed ladder that connects the Companhia Paulista de Trens Metropolitanos (CPTM) and São Paulo Metrô lines integration area and the central platform of Estação da Luz. The panel\'s goal, besides aesthetic, is to engage in an immanent relationship with Estação da Luz, beneath which it is installed. That determined the choice of oxidized iron as its raw material as a reference to the railway station material, cast iron , and of its design. The latter originated mainly from the station representative signs. Besides dialoguing with the railway station, the panel interacts with the architecture onto which it is installed, in terms of adopted proposal, ambience and local conditionings. So, the analysis of that artistic object inserts in the discussion about relationships between Art and Architecture. In the panel\'s realization, aesthetic issues also commanded the study of raw material and technique, and in this sense several essays were made.

L’art public se présente sous divers modes d’expression artistique dans l’espace public. Qu’il soit permanent, temporaire ou éphémère, qu’il soit singulier, interactif ou participatif, qu’il soit traditionnel ou numérique, l’œuvre intégrée ou insérée dans ce contexte tente d’interpeller le public. Cette recherche examine l’évolution des modes d’expression artistique dans l’espace public, dans l’espoir de trouver une définition de l’art public. L’étude de cas de la Ville de Montréal est la base de cette recherche pour examiner les nombreuses manifestations de l’art dans l’espace public et ses périmètres. Dans une perspective conceptuelle et transdisciplinaire, sous lesquels nous considérons les approches artistiques, paysagères et politiques dans l’analyse du sujet, nous nous intéressons aux frontières des modes d’expression artistique et les moyens de les représenter. En somme, nous souhaitons saisir ce que l’on considère comme l’art public dans l’aménagement urbain montréalais et générer des connaissances plus générales. Notre revue de littérature et les observations faites sur le terrain révèlent de nouveaux enjeux qui influencent les pratiques artistiques et la perception que peut susciter une œuvre d’art public aujourd’hui. Nous examinons les facteurs qui les influencent à ce jour. En étudiant la question, nous constatons que la tâche de définir ce qui constitue l'art public est difficile, d'autant plus que les pratiques évoluent constamment. Souvent définie comme une fonction plus cosmétique qu’artistique et dans une logique d'équipement, l'art dans l'espace public joue un rôle passif et fait l'objet de débats et de critiques. Pour le public, l'art public est difficile à discerner bien que sa présence semble être appréciée. Nos résultats mettent en lumière la complexité des processus politiques, les attentes spécifiques, les règles et modalités oppressantes pour l'artiste, la difficulté à saisir les œuvres d'art et le manque de médiatisation pour sensibiliser le public. Avec la politique d'intégration, l’art dans les espaces publics résulte souvent d'une médiation conflictuelle dans un rapport de compromis et d’attentes contrastées afin que soit réalisée une œuvre. Les résultats permettent de penser que les processus de sélection sont souvent pervers et fermés aux initiatives artistiques. En outre, il serait nécessaire dans ce contexte que les artistes définissent mieux leur statut professionnel et leur pratique. Malgré des efforts du Bureau d'art public de Montréal, l'art public semble peu perçu sur son territoire. Par ailleurs, les nombreuses discussions avec le grand public portent à l'attention l'absence de médiatisation pour les arts publics sur le territoire de Montréal. / Public art comes in various modes of artistic expression in the public space. In this context, whether it is permanent, temporary or ephemeral, if it is singular, interactive or participatory, whether traditional or digital, the integrated or inserted artwork attempts to engage the public. This research examines the evolution of artistic expression modes in the public space, hoping to find a definition of public art. The case study of Montreal City sits at the base of this study to examine the various manifestations of art in the public space and its perimeter. In a conceptual and transdisciplinary approach under which we consider the artistic, political and the landscape boundaries of artistic expression modes and the means to represent them, in order to understand the significance of public art. In short, we wish to seize what is considered public art in the Montreal urban development and generate a more global knowledge. In studying the issue, we find that the task of defining what constitutes public art is difficult, especially since practices are constantly evolving. Often defined to a function more cosmetic than artistic and in a logic of equipment, art in public space plays a passive role and is the subject of debates and criticism. As for the public, public art is hard to discern although its presence seems to be appreciated. Our results highlight the complex political processes, specific expectations, rules, and oppressive methods for the artist, the difficulty in understanding the works of art and the lack of effort to touch the public. With the politics of integration, art in public spaces often result from a mediation conflict in a relation of compromise and contrasted expectations for a piece of art to be achieved. The results allow to think that the selection processes are often perverse and often closed to artistic initiatives. In addition, it is necessary in this context that artists define their professional status and practice. Despite the efforts of the Bureau d’Art Public de Montréal, public art seems to be little perceived on its territory. Incidentally, many discussions with the general public brought to the attention the absence of mediatisation for the public arts on Montreal’s territory.