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Escolinha Municipal de Arte de Pelotas : memória, história e ensino de arte (1963/1998). / Municipal Little Art School of Pelotas: Memory, History and Teaching of Art (1963/1998).Peixoto, Marge Faria do Amaral., Peixoto, Marge Faria do Amaral 29 March 2017 (has links)
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Previous issue date: 2017-03-29 / Sem bolsa / Esta dissertação, tendo como título: “Escolinha Municipal de Arte de Pelotas: Memória, História e Ensino de Arte (1963/1998), insere-se na Linha de Pesquisa “Ensino da Arte e Educação Estética” do Programa de Pós -Graduação em Artes Visuais, Mestrado, da Universidade Federal de Pelotas, RS. Sustenta-se na necessidade de se conhecer essa história que foi desenvolvida na área da Arte -Educação em 30 anos de existência. Foi uma experiência educativa, funcionando desde o princípio com uma proposta baseada nas Linguagens da Arte. Na sua criação, recebeu o nome de Escolinha Municipal de Arte (Pelotas/RS). Está entre as
Escolinhas que tiveram suas bases no Movimento Escolinhas de Arte, surgido em meados de 1952. O objetivo principal desta pesquisa é reconstituir, preservar, divulgar e valorizar a memória, a história e o ensino de arte da Escolinha Municipal de Arte de Pelotas. Espera-se que esta pesquisa possa contribuir para a reflexão das pessoas, sobre a memória, a história e o ensino de arte em Pelotas. A pesquisa aconteceu seguindo uma abordagem qualitativa, tendo como fontes de pesquisa a análise documental do acervo da escola, imagens de registros e entrevistas com algumas pessoas que trabalharam ou estudaram na Escolinha ou tiveram relação com ela. Divide-se em quatro etapas: Introdução, Contexto Histórico-Político da Arte-Educação, Escolinha Municipal de Arte de Pelotas. Devido à escassez de registros escritos sobre a Metodologia desenvolvida durante esses 33 anos de Escolinha, teve-se que usar de entrevistas com os protagonistas que fizeram parte dessa história, a fim de coletar informações e imagens. As entrevistas contribuíram para compor o texto da dissertação, mas não foram utilizadas na sua íntegra e sim no decorrer do texto. Acredita-se que tenha alcançado os objetivos e que esta pesquisa possa realmente contribuir para o ensino de arte. Para aprofundar os estudos, as principais referências foram: RODRIGUES (1980); READ (1978;1986); BARBOSA (1997; 1988; 1991); MEIRA (2003; 2010); VARELA (1980; 2001). / This master thesis is entitled: “Municipal Little Art School of Pelotas: Memory, History and Teaching of Art (1963/1998), it is inserted in the Line of Research “Teaching of Art and Esthetical Education” of the Postgraduate Program in Visual Arts, Master’s
Degree in the Federal University of Pelotas, RS. It is sustained in the necessity of knowing this history which was developed in the area of Education throughout 30 years of existence. It was an educational experience functioning since its beginning as a proposal based on Languages of Art. In its foundation was given the name Municipal Little Art School (Pelotas/RS). It is among the Schools which were based on the Art Schools Movement, emerging around 1952. This research aims at reconstitute, preserving and spreading, appraising the memory, history and the teaching of art of the Municipal Little Art School of Pelotas. It is expected that this research can contribute for the reflection of people, about the memory, history and teaching of art in Pelotas. The research was carried out following the qualitative approach having as research source the analysis of documents of the school database, images or records and interviews with some people who worked or studied in the institution or had some kind of relation with it. It is divided into three parts: Introduction, Historical and Political Context of Art-Education and the Municipal Little Art School of Pelotas. Due to scarce written resources about the methodology developed in the last 33 years of the institution, I had to use interviews with the protagonists who took part of this history, in order to collect information and images. The interviews contributed to construct the text of this thesis, but they were not used entirely but only throughout the text. I believe I had achieved my goals and this research could really contribute for the teaching of art. For further reading the main references were the following: RODRIGUES (1980); READ (1978; 1986); BARBOSA (1997; 1988; 1991); MEIRA (2003; 2010); VARELA (1980; 2001).
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Formování dítěte ve výtvarné výchově na malotřídní škole / Shaping a Child in Art Classes in a Small-Classes SchoolPetřinová, Jitka January 2016 (has links)
This thesis, in theoretical part, is focused on art education as part of the esthetic education. Than there are presented problems of Small-Class Schools in relation to art class on primary school and the artwork accompanying the development of the child as a character. In the practical part, there are presented the results of the research, which was carried out on the selected case study Small-Class School. In the final part, thesis summarizes the knowledge on the possibilities and peculiarities of art education as part of the education of the pupils at the primary school in the context of the specific condition of the Small-Class School. Keywords esthetic education, art education, Small-Class School, drawing, personal development, perception, personal and social development, younger school age
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Place-Based and Intergenerational Art EducationLangdon, Elizabeth Ann 08 1900 (has links)
This qualitative inquiry explored how art educators might broaden their views of place through critical encounters with art, local visual culture, and working with older artists. I combined place-based (PB) education and intergenerational (IG) learning as the focus of an art education curriculum writing initiative with in-service art educators within a museum setting to produce PBIG art education. This study engaged art educators in cooperative action research using a multi-modal approach, including identifying and interviewing local artists to construct new understandings about local place and art to share with students and community. I used critical reflection in our cooperative action research by troubling paradoxes in local visual culture, which formed views of place including Indigenous cultures. Using Deleuze's Logic of Sense (LOS) theories of sense and event, enabled concept development through embracing the paradoxes of this research as sense producing. LOS theory of duration complements IG learning by clarifying the contributions of place and time to memory and experience. Duration suggests that place locates the virtual past, which is actualized through memories--one of the shared experiences of IG learning. Rethinking IG relationships as a sharing of experience and memory while positioning place as a commonality, dismantles ageist notions by offering alternatives to binary thinking about old and young. By triangulating participant data based on the extended epistemology of cooperative action research and Deleuze's pure event, I assess the credibility of participant learning. Critical reflection in cooperative action research combined with LOS theory is significant because the reflective aspect of action research aligns with Deleuze's pure event. Vital curricula and teacher praxes resulted when participants integrated localized experiences of place through older artists' memories and art.
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Perceiving Indeterminacy: A Theoretical Framework of the Perceptual Rite of Passage for PreadolescentsHerman, David 08 1900 (has links)
It is the fundamental insight of phenomenology that meaning is first and foremost - not something which we intellectually reflect on. It is not a product of the mind reworking raw, perceptual experiences. Rather meaning, and our connection to the world, are perceptual phenomena. Thus, to understand the ways in which children find meaning demands a turn toward perceptual experiences - how children see and feel. In this theoretical dissertation, I explore questions of perceptual experiences through a phenomenological framework that I refer to as the perceptual rite of passage (PRoP). The conceptual framework, which centers on attentiveness, labors to help us understand the ontology of perception for preadolescents and how meaning emerges through everyday encounters.
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Elementární architektura / Galerie a muzeum architektury při FA VUT v Brně / Primary Architecture / Gallery and Museum of Architecture at FA BUTHertelová, Viola January 2021 (has links)
The topic I have chosen for my diploma thesis is the curation of architecture as a possible overlap of teaching architecture towards the general public, but also a tool for connecting academic and municipal institutions. In my work I will examine the possibilities of creating an architecture center within the Faculty of Architecture, BUT. Galleries and museums of architecture, and thus various other associations and groups dealing with architecture, often function as separate institutions. I decided to solve the creation of a similar center, which as such has been missing in the Czech environment for many years, through its placement in academia. In my work I will first focus on the theoretical study of the possibilities of presentation and representation of architecture together with new approaches in the field of exhibition and curation of architecture. Subsequently, I will deal with the possibilities of connecting the activities of the Center of Architecture and the Faculty of Architecture. The aim of the work will be a practical design of the center within the BUT campus, for which I chose a space near Veveří Street in Brno, also known as Academic Square. For me to design the center, it will be important for me to analyze the place and find possibilities for its new concept. Today, the space of the Academic Square is in a state of disrepair and is waiting for an important gesture that can unite the place. Can it be the center of architecture?
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Vzdělávání dospělých na základních uměleckých školách / Adult Education at Basic Art SchoolsPelikánová, Anna January 2020 (has links)
The thesis focuses on art education of adults, more specifically on art education of adults at basic art schools in Prague and Central Bohemia. The thesis discusses the low frequency of exploiting of this kind of education and its reasons and presents suggestions to broaden education of adults at basic art schools. Theoretical part of the thesis defines leisure education of adults at the beginning and continues with definition of cultural and aesthetic education of adults, while it focuses on art and music education. The final chapter of theoretical part describes basic art schools and their associations. Statistical and other data connected to edult education at basic art schools in Prague and Central Bohemia are analysed in analytical part of the thesis. The research is completed with a questionnaire inquiry and is followed by suggestions for more frequent exploiting of adult education at basic art schools. The results are summarized at the end of the thesis. KEYWORDS Andragogy, Basic Art Schools, Adult Education, Lifelong Learning, Leisure Education, Art Education
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How Does It Feel to be Creative? A Phenomenological Investigation of the Creative Experience in Kinetic PlacesBartholomee, Lucy 12 1900 (has links)
How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens to grasp embodied knowledge, perceptions of placedness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examination of visual and material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of walking and wandering became a methodology for embodied data collection that clarified the emerging rich experiences and descriptions of how it feels to be creative, especially how it feels to be creative in a creative place. What is also revealed are intense frictions, such as the tension between perceptions of personal freedom and a high demand for authenticity in terms of New Orleans traditions, that opens the space and fuels the inspiration for the abundance of creativity found in New Orleans culture.
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Le trafic illicite de biens culturels dans le cadre de la guerre civile syrienne : une mosaïque byzantine à Palmdale, étude de casBonnard, Marine 12 1900 (has links)
Le trafic d’objets culturels est une manne illicite qui approvisionne partiellement le marché de l’art. Ce commerce clandestin se veut d’ampleur internationale bien que certains pays se trouvent plus touchés que d’autres. Afin de limiter ces pratiques et les conséquences irréversibles qu’elles entraînent, la communauté internationale tente depuis la seconde moitié du XXe siècle de mobiliser la population et de produire des instruments juridiques en faveur de la protection de l’héritage mondial. Pourtant, en août 2015, une cargaison de quatre-vingt- trois objets culturels d’origine syrienne est livrée au port de Long Beach, en Californie. Le chargement en provenance de Turquie s’avère alors composé de poteries, mais aussi de trois mosaïques, dont une pièce datée entre le IIIe et le IVe siècle de notre ère. Saisie et confisquée à son propriétaire par la justice américaine, cette mosaïque ne sera néanmoins jamais retournée à son pays d’origine.
L’objectif de cette étude est d’analyser et de comprendre le cheminement d’un objet culturel illicite. Cependant, le trafic demeure un phénomène complexe et ses ramifications sont nombreuses. Afin de rendre cette étude intelligible, notre mémoire se divisera en trois axes autour d’une étude de cas.
Le contexte dans lequel se place la fresque est examiné au premier chapitre. Celui-ci met en lumière l’impact d’un environnement instable sur les crimes perpétrés contre l’art. Il implique aussi une analyse globale des intermédiaires participants au trafic et apporte une analyse formelle et iconographique de la fresque.
Ensuite, et pour comprendre le cheminement de l’objet d’art jusqu’aux États-Unis, le second chapitre de cette étude participe à un court état des lieux du marché de l’art dans toutes ses nuances : soit du marché licite dit « blanc » au marché « gris » ou encore « noir ». Il dévoile alors l’importance des technologies dans l’expansion du trafic illicite d’objets d’art.
Enfin, le dernier chapitre étudie les institutions internationales majeures ainsi que leurs actions en faveur de la protection du patrimoine culturel. Cette section dresse la chronologie des différents instruments juridiques qui auraient pu prévenir l’exportation illicite de la mosaïque ou qui pourraient encore actuellement permettre son retour en Syrie. Mais ces outils sont-ils suffisants ? / Trafficking in cultural objects is an illicit source of income that partially supplies the art market. This clandestine trade is international even if some countries are more affected than others. In order to limit these practices and the consequences they generate, the international community has been trying since the second half of the 20th century to mobilize the population and to produce legal tools for the protection of the world's heritage. However, in August 2015, a shipment of eighty-three objects of Syrian origin was delivered to the port of Long Beach, California. The shipment sent from Turkey was composed of pottery, and three mosaics, including one piece dated between the 3rd and 4th centuries AD. This mosaic has been seized and confiscated from its owner by the District Court of California but has never been returned to its country.
The purpose of this study is to analyze and understand the path of an illicit cultural object. However, trafficking remains a complex phenomenon and its ramifications are countless. In order to make this study intelligible, our dissertation will be divided into three chapters that will anchored into a case study.
The historical context of the mosaic is studied in the first chapter. It highlights the impact of an unstable environment on crimes against art. The chapter also provides a global analysis of the intermediaries involved in the traffic and provides a formal and iconographic analysis of the mosaic.
Then, in order to understand the journey of the artifact to the United States, the second chapter of this study focuses on established yet illicit practices of the art market, both the legal « white » market and the illicit or «black» market. It also underlines the importance of technology in the expansion of the illicit traffic of art objects.
Finally, the last chapter studies the international institutions and their pronoucement (if not always their actions) in favor of the protection of cultural heritage. This section creates a history of the different legal instruments that could have prevented the illicit export of the mosaic or that could still currently allow its return to Syria. But are these tools efficient ?
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L’influence de l’apprentissage des arts sur le développement de l’intelligence émotionnelle d’élèves du primaireLauzon La Rue, Émilie 09 1900 (has links)
No description available.
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Les pratiques de régulation des enseignants en arts plastiques au secondaire face aux questions sensibles abordées par leurs élèvesPilote, Alexandra 11 1900 (has links)
Cette recherche étudie la possibilité pour les enseignants d’arts plastiques au secondaire de permettre à leurs élèves de créer des oeuvres à partir de questions plus sensibles, comme le feraient de véritables artistes. Elle part de l’hypothèse que certains enseignants hésitent à approuver les intentions sensibles soumises spontanément par leurs élèves, allant même jusqu’à les interdire, ne sachant pas comment y répondre de façon satisfaisante. Elle souligne le fait que ce type de questions peut favoriser la création d’oeuvres pertinentes, authentiques et signifiantes, mais que cela exige des pratiques de régulation capables d ’amener les élèves à créer dans un contexte scolaire où le regard du public compte.
Elle mise ainsi sur la possibilité de découvrir, de comprendre et de décrire le phénomène de la pratique de régulation des enseignants face aux questions sensibles soumises par leurs élèves afin de cibler les gestes susceptibles d’amener les élèves à développer une posture similaire à celle d’artistes professionnels. Elle s’appuie sur six composantes inhérentes à ce type de régulation : les questions sensibles, l ’enseignant, l’adolescent, la création, le contexte et le public. Il s’agit d ’une recherche descriptive, qui emprunte des éléments à la recherche phénoménologique et qui adopte un parcours en partie heuristique. Elle fait état de l’expérience de régulation des questions sensibles de la chercheure et de celle de cinq autres enseignants participants oeuvrant auprès d’élèves du secondaire dans un établissement scolaire du Québec.
Les résultats de la recherche mettent en relief la nature et les finalités des gestes de régulation recensés par les participants et ils démontrent l ’importance de certains de ces gestes, dont ceux favorisant l’action conjointe ainsi que ceux servant à identifier les conditions favorables au travail des questions sensibles. La recherche prouve l’importance de la réflexion en continu dans le processus de régulation de ce type de questions, processus soutenu à la fois par les élèves et l ’enseignant qui travaillent de concert afin de faire progresser les intentions sensibles initiales qui s’actualisent et se précisent au fur et à mesure que progresse le travail de création. Elle montre également l ’importance de mettre en place une régulation qui tienne compte du public, de la diffusion des oeuvres sensibles faites en classe ainsi que des visées d ’exposition. / This research questions the possibility for secondary school visual arts teachers to allow their students to create artworks dealing with sensitive issues, the way real artists would. It is based on the hypothesis that some teachers are reluctant to accept sensitive intentions that are spontaneously submitted to them by their students, even going so far as to forbid them, because they do not know how to address these issues properly. The research emphasizes that exploring these issues can promote the creation of relevant, authentic and meaningful artworks, however, this requires regulatory measures capable of engaging students creating in a school context where public perception matters.
The research is committed to the possibility of discovering, understanding and describing teachers’ regulatory measures when dealing with sensitive issues proposed by their students. It aims to identify actions that may help them develop a personal point of view, similar to those of professional artists. The study is based on six components that are inherent to these types of regulations: sensitive issues, teachers, teenagers, creation, context and audience. This research is descriptive, drawing from elements of phenomenological studies and adopting a partly heuristic approach. It reports on the researcher’s own experience addressing sensitive issues with these regulatory measures, as well as the experiences of five other participating teachers working with students in a secondary school in Quebec.
The results of this research highlight the nature and purposes of the regulatory measures identified by the participants and reveal the significance of some of these measures, including those that promote joint action and those that help identify the most conducive conditions for working with sensitive issues. It proves that continuous reflection is essential during the process of regulating these types of questions. This process is carried out by both students and teachers, working together to develop the initial sensitive intentions that are actualized and clarified as the creative work progresses. The study also illustrates the importance of implementing regulations that consider the audience, the display of sensitive work in class and the objectives of the exhibit.
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