Made available in DSpace on 2016-08-03T16:15:54Z (GMT). No. of bitstreams: 1 Miriam Rezende Mendes.pdf: 1064619 bytes, checksum: b6da2aaa8db44ffb76705c6f0541f442 (MD5) Previous issue date: 2007-03-15 / This research present itself in a qualitatively perspective, with an ethnographic character. It analyzes the evaluative practice movement of the teachers who participated in the course about Avaliação numa perspectiva construtivista (Evaluation in a constructivist perspective). Initially, it discusses the hypothesis of non-changing related to the evaluative practice. In a reflexive way, that analyze pass to be inspired in the studies of Michel de Certeau, for not to surrender to the supremacy of the cultural products imposed by a dominating social order; in not to restrict itself to the perspectives of the theories about learning evaluation. The aim of this present research directed itself to the action of the consumers of this products the teachers when appropriating themselves of such theories, they do on their own way, re-measuring, and re-signifying them, with astuteness, creativity, inventiveness. When we understand that such professionals, in situations less privileged in the social structures of the constitutive power, have an intelligence that generates a multiplicity of interpretations, we open our eyes to the surprises, possibilitating various ways to the appreciation that trace the evaluative practice of the teachers. However, if we elect a single patter of reference to the daily actions analyze, we could close ourselves into only two conclusions: obedience or resistance. We opted, however, for approaching ourselves of Certeau, and to believe, as he does, in intelligence, and creativity also present in the actions of the more weak in the social organizations, who are the consumers of the cultural products. We created, so, new opportunities so that the crowd acquire life, turning clear the diversity of the evaluative practices of a group of teachers, focusing the concrete actions from real teachers analyze. / presente pesquisa apresenta-se em uma perspectiva qualitativa, de cunho etnográfico. Analisa o movimento da prática avaliativa de professores que participaram do curso sobre Avaliação numa perspectiva construtivista. Inicialmente, discute a hipótese de não-mudança em relação à prática avaliativa. Em uma trajetória reflexiva, a análise passa a ser inspirada nos estudos de Michel de Certeau, ao não se render à supremacia de produtos culturais impostos por uma ordem social dominante; ao não se limitar à perspectiva das teorias sobre Avaliação da aprendizagem. O foco da pesquisa direcionou-se à ação dos consumidores desses produtos os professores que, ao se apropriarem de tais teorias, o fazem à sua maneira, redimensionando-as e as resignificando, com astúcia, criatividade, inventividade. Ao entender que tais profissionais, em situações menos privilegiadas nas estruturas sociais de poder constituído, possuem uma inteligência que engendra uma multiplicidade de interpretações, abrimos nosso olhar para surpresas, possibilitando a apreciação de variados caminhos que delineiam as práticas avaliativas dos professores. No entanto, se elegêssemos um único padrão de referência para a análise das ações cotidianas, poderíamos nos fechar em apenas duas conclusões: obediências ou resistências. Optamos, todavia, por aproximarmo-nos de Certeau, e acreditar, como ele, na inteligência e criatividade também presentes nas ações dos mais fracos nas organizações sociais, que são os consumidores dos produtos culturais. Criamos, destarte, nova oportunidade para que a multidão adquira vida, evidenciando a diversidade de práticas avaliativas de um grupo de professores, focalizando a análise em ações concretas, de professores reais.

« Le design : une attitude pas une profession », selon le mot de László Moholy-Nagy, est un champ d’éclosion des objets et environnements, qui, aussi bien sur le plan de sa pratique que sur celui de sa théorie, n'est pas sans poser quelques difficultés quant à sa définition. Ce constat liminaire soulève la question des manières de produire les artefacts qui viennent à prendre place — parmi nous — au sein d'un monde déjà ouvré. Tandis que l'absence d'assignation arrêtée et l'attitude a-disciplinée, à laquelle le mot « design » renvoie historiquement, mettent en crise — de façon problématique mais plutôt heureuse — les attendus de la société marchande, la lecture de L'invention du quotidien (de Certeau) ouvre la possibilité d'une enquête sur les différents modes opératoires de la culture ordinaire, désignés plus largement par l'expression « manières de faire ».Concomitamment, que fait au juste le design ? Où et comment opère-t-il de manière vive, foncièrement utile, plus que simplement efficace et créative ? Il s’agit de faire accueil aux pratiques qui traversent et débordent les cadres spécifiques couramment admis de l’agence, du bureau d’étude, des médias ou encore de l’école; déjouent les stratégies, et œuvrent, incidemment, par « coups tactiques ». Ces innombrables faits anonymes ont déjà été appréhendés, thématisés, récupérés. Une considération critique, une mise en perspective conceptuelle et une étude historique de certains cas et textes doit permettre de faire valoir à la méditation du designer, mais aussi d'authentifier pour un plus large public, la part non-négligeable, non-héroïque, mais toujours fabricante de ces ars. / « Designing is not a profession but an attitude », as de László Moholy-Nagy wrote, is an object and environment growth field, which, both in terms of its practice and that of its theory, is not without some difficulties in its definition. This preliminary finding raises the question of the ways in which producing the artifacts that come to take place — among us — at the heart of a world already designed. While the absence of fixed classification and the non-disciplined attitude, from which the word « design » historically refers, put in crisis — problematically yet nevertheless fruitful — the expectations from the consuming society, the reading of The Practice of everyday Life (De Certeau) opens the possibility of investigating the various procedures of ordinary (and every day) culture, known widely as « ways of operating » or « arts of doing ». In keeping with this idea, the question raised is : what does design concretely do? Where and how does it operate vividly, in a more fundamentally useful manner, than just in an effective and creative way? It's about accepting and even embracing the practices that cross and transcend specific frameworks commonly accepted in places such as offices, firms, media or even by academia; thwarting recognized strategies, and working, incidentally, by « tactical tricks ». Those innumerable anonymous facts have already been apprehended, themed, recovered. A critical consideration in setting a conceptual perspective and historical contexts, considering some cases, should allow to assert the meditation of the designer, but also to authenticate to a wider public, the non-negligible and non-heroic, but always productive part of those ars.

Made available in DSpace on 2016-12-23T13:44:53Z (GMT). No. of bitstreams: 1 Iorrana Fioreti de Menezes Pupa.pdf: 2883631 bytes, checksum: b75520e1807ff81bbd48c8a3acfdbe47 (MD5) Previous issue date: 2012-06-13 / In the contemporaneous context, the act of consuming has been a subject of great interest by researchers from different areas. It has been approached from diversified perspectives, based on production process or social argument. This research, originated from Certeau s (2008, 2009, 1995, 1982, 2011) studies, is an attempt to understand the act of consuming as a creative use , taking into consideration the power of ordinary practices proper of people who perform everyday events. The practices artistic nature would confer to the act of consuming an inventive and political dimension. This way, this research concentrates on consumptions/uses that are performed at a beauty parlour in a high medium social class neighborhood in Vitória ES. The objective is to negotiate wider senses, related to the notion of esthetics consumption, than those stereotyped ideas which associate beauty consumption to superfluous and frivolous actions. The inform data production indicates a diverse range of possible uses of the beauty parlour, which strengthens different ways of existence, based on taking care of oneself, including body and health issues; on the ethical relationships guided by esthetics dimension and possibilities of assuming minor esthetics with vanishing lines, allowing to produce different meanings associated to consumption / Na contemporaneidade, o tema consumo tem despertado interesse de estudiosos de várias áreas. Assim, vem sendo abordado a partir de diversas perspectivas, sejam elas à luz do processo de produção ou marcadas pelo social. Este trabalho, a partir dos estudos de Certeau (2008; 2009; 1995; 1982; 2011), busca compreender o consumo como uso criativo, ao apostar na potência que têm as práticas ordinárias dos sujeitos praticantes do cotidiano. O caráter artístico das práticas daria ao consumo uma dimensão inventiva, inapreensível e política. Dessa forma, a pesquisa se concentra nos consumos/ usos que são feitos de um salão de beleza em um bairro de classe média alta na cidade de Vitória ES. A ideia é negociar sentidos mais amplos para a noção de consumo estético do que aqueles estereotipados que relacionam o consumo de beleza ao supérfluo e fútil. A produção dos dados sinaliza para uma diversa gama de usos possíveis do salão de beleza. Esses usos potencializam diferentes modos de existência, baseados no cuidado de si a partir do cuidado com o corpo e com a saúde; nas relações éticas pautadas pela dimensão estética, e nas possibilidades de assumir estéticas menores com linhas de escape, e dessa forma, produzirem diferentes sentido para a noção de consumo

[pt] Esta dissertação debruça-se sobre a obra teórica do historiador francês Michel de Certeau (1925 - 1986), interessando-se particularmente pela maneira como o autor articula a psicanálise à pesquisa e ao discurso da história. O argumento consiste em evidenciar aquilo que as afirmações de Certeau acerca da natureza da linguagem devem à teoria psicanalítica, notadamente à obra de Freud revisitada pelo psicanalista francês Jacques Lacan. Assumir tal abordagem do fenômeno da linguagem permite a Certeau questionar a relação do texto historiográfico com a realidade, assim como atrelar à sua reflexão teórica uma concepção de historicidade inspirada pelo tempo freudiano. Ressalta-se também o enraizamento na teoria psicanalítica da renitente crítica do autor quanto à incidência impensada da Instituição no discurso histórico, mas também no próprio discurso psicanalítico. Suas preocupações epistemológicas e éticas unem-se no conceito de ficção teórica, pensado junto a Freud. / [en] This dissertation studies the theoretical approach of history proposed by the French historian Michel de Certeau (1925 - 1986), focusing on the way the author introduces some psychoanalytic concepts in his argument. The most important between the concepts chosen is the approach of language developed within the reading of Freud by the French psychoanalyst Jaques Lacan, which allows the historian to question the supposed ties attaching history s methods and discourse to a certain conception of reality. This leads Michel de Certeau to a reflection on the incidence of a sort of freudian time in the act of writing history. On the basis of this development is Certeau s critics of the role played by institutions in the construction of knowledge and identity, for which elaboration he also convokes psychoanalysis. Certeau s epistemic and ethical concerns are assembled in the concept of theoretical fiction, brought up by a long length study of Freud s work.

• What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role of art in society add new insights to theories and practices of contemporary art? These questions are approached through three interrelated methods. In the first the artist as researcher consciously addresses organizational change through her artistic practice, over a three year period, within the different communities of Woodend Barn, a volunteer-led arts centre in the North East of Scotland. The second method is a literature review focusing on the selected artistic practices of Allan Kaprow, Suzanne Lacy and Artist Placement Group. Each practice is discussed in relation to the underpinning philosophical principals of Pragmatism, in particular John Dewey’s ideas on the generative qualities of aesthetic experience. These insights inform the research as it unfolds within the organizational context of Woodend Barn, itself at a point of significant change. The third method draws on anthropologist Michel de Certeau’s theory of the act of speaking to define the details of social interaction. This leads to a conversational method of analysis that draws out the synergies and differences of the chairperson of Woodend Barn and the artist. The analysis aims to understand the qualities and conditions for social interaction in arts practice and how they affect change in organizational contexts. It has become apparent that a key condition of the artwork is an artist who is committed to a refined and informed understanding of the social dynamics of art (as evidenced in the two principal projects Fold (2012) and Lavender (2012-2014)). It is important to recognize that not all artists have these skills or are interested in adopting a social focus in their practice. The research sets out to address and influence new generations of artists and more broadly, to rethink the value of social interaction in artists practices in relation to economic values. Understanding how social interactions become generative sense-making experiences is an important quality of the practice and research findings. This resonates with Dewey’s theory that it is through the unconstrained characteristics of art that aesthetic experience can shift deeply- rooted ways of thinking. The research concludes with a social manifesto for art that outlines the conditions for individuals from different communities to act in ways that are self-directed and lead to community resilience.

Chan, Chun Hay. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 195-232). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.iii / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- The Intellectual Trajectory of Sociology of Everyday Life --- p.26 / Chapter 3 --- The New (French) Context --- p.50 / Chapter 4 --- Henri Lefebvre --- p.70 / Chapter 5 --- Michel de Certeau --- p.120 / Chapter 6 --- Conclusion --- p.162 / Bibliography --- p.195

Mary Szybist's 2013 collection, Incarnadine, uses the Annunciation as a foundational narrative through which to examine the implications of faith and having a relationship with God. Transforming this pivotal Biblical event through metaphor, intertextuality, and different points of view, Szybist showcases what Charles Taylor terms "fragilization" of faith, or the contestable and dubious position of believing among plurality of belief and nonbelief. By repeatedly shifting the framing of the Annunciation, Szybist creates several different visions of who God is. Rather than reinterpreting the Annunciation with a new dictum on exactly who God is and what it means to believe in Him, she plays with her own definition of God, allowing readers to do the same, and thus work through "fragilization" and find a faith that fits them.

“Learning on the Run” refers to the educational experiences of the primary school children travelling along the agricultural show ‘circuits’ in coastal and western Queensland. This thesis examines those educational experiences by drawing on the voices of the show children, their parents, their home tutors and their teachers from the Brisbane School of Distance Education, which from 1989 to 1999 implemented a specialised program of Traveller education for these children (in 2000 a separate school was established for them). The thesis focusses on the interplay among marginalisation, resistance and transformation in the spaces of the show people’s itinerancy. It deploys Michel de Certeau’s (1984, 1986) concept of ‘tactics of consumption’ and Mikhail Bakhtin’s (1986a) notions of ‘outsiddness’ and ‘creative understanding’ to interrogate the show people’s engagement with their absence of place, the construction of their otherness and forms of seemingly unproblematic knowledge about their schooling. Data gathering techniques included semi-structured interviews with forty-two people between 1992 and 2000 in seven sites in Queensland - Mackay, Bundaberg (over two years), Emerald, Brisbane, Rockhampton and Yeppoon - and document collection. The thesis’s major finding is that the show people’s resistance and transformation of their marginalising experiences have enabled them to initiate and implement a significant counternarrative to the traditional narrative (and associated stereotypes) attending their itinerancy. This counternarrative has underpinned a fundamental change in their schooling provision, from a structure that worked to marginalise and disempower them to a specialised form of Traveller education. This change contributes crucially to understanding and theorising the spaces of itinerancy, and highlights the broader significance of the Queensland show people’s “learning on the run”.

What happens when one moves about in the city? In this essay I will explore how we through our movements create our own temporal cities. I base my investigation on Michel de Certeau's theories from his book The Practice of Everyday Life vol 1. De Certeau believes that by just walking in the city – a mostly unconscious and for many trivial activity – you write it, creating different types of spaces that can be understood using linguistic terms. In my essay, I develop de Certeau's theories about ordinary activities by applying them to two less ordinary – and between themselves quite different – spatial practices:  fare evasion on public transportation (plankning) and the urban activity of parkour. I also carry out a linguistic analysis of both parkour, fare evasion and walking, using the linguist Roman Jakobson's theory on the act of speaking together with de Certeau's theory on the rhetoric of walking. In my concluding discussion, I outline a theory regarding how these different spatial practices come together in the city and form a multiplicity of ever-changing spatial stories. I also discuss what one can say that this actually means, both practically and theoretically speaking.

Positioning itself as an investigation into the affective capacity of transport, this thesis argues that the potential of a city is both composed and revealed through its systems of movement, contending that the sensorial and expressive qualities of a city’s transit govern how its citizens perceive and access the scope of experiences available to them. Essays on movement and identity, the limits of the city, immobility, adaptation, and eccentricities, move in parallel with meditations on departures, arrivals, and the time of transit toward a mandate for an amplification of motion and energy. The thesis traces a route from Ontario through London, Rome, and northern Europe before returning to Toronto only to founder in the region’s gridlock. To free the city’s constricted potential, a new passenger rail line running from Pearson Airport, through Toronto on the Canadian Pacific Rail corridor north of Dupont Road, to the site of Pickering’s future international airport is proposed. The key interchange of the new line, Lake Iroquois Station, is developed in detail, feeding on an intense overlap of historic and contemporary infrastructures. Located just south of the historic First Nations trading trail of Davenport Road at Dupont and Spadina, the station gathers the primary midtown electrical corridor, extensions of the Bathurst and Spadina streetcar lines, the existing University/Spadina subway, and expansions of the city’s cycling network, knotting them together with regional passenger rail in order to transport the city and its imagination.