Made available in DSpace on 2016-12-08T16:18:51Z (GMT). No. of bitstreams: 1 113560.pdf: 1116282 bytes, checksum: ec773f2f618c7a64bc472639ce3aaab7 (MD5) Previous issue date: 2013-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research developed in the Art Education Line of Research, at the Master s Program in Visual Arts of UDESC is part of the Observatory of Teacher Education in Visual Arts: comparative studies between Brazil and Argentina. It was based on a qualitative approach and methodological process of content analysis proposed by Bardin (2009) and characterized as a state of the art type study. The main objective was to investigate how to characterize the contradictions that emerge from research on teacher training in visual arts. The collection of information occurred between March 2012 and March 2013 based on the theses cataloged on the website of CAPES and developed from 2000 with exclusive focus on visual arts teachers degree. Thirteen surveys were tracked: nine dissertations and four theses. Document analysis was given by its division into two groups: researches developed in education master´s programs and researches developed in visual arts master´s programs. The theoretical referential was anchored on dialectical materialism, with emphasis on the philosophical thought of Antonio Gramsci (1891-1937), to the extent that it emphasizes the role of common sense in social struggles, in this case, the initial training of visual arts teachers. Mapped the initial assumptions of researchers seeking the characterization of research, understanding how they are constituted. The information collected shows that most of the studies were developed in the programs of education, presenting proposals for a degree in visual arts focused on the construction of teacher knowledge in the training process. The research of graduate programs in visual arts stressed the importance of conceptual rigor during the training. The confrontation of all the research pointed out contradictions in relation to three categories: concept of art, roles of the teacher / trainer and referrals of undergraduate curriculum. Based on the contradictions the need for increasing spaces of dialogue between researchers has been highlighted in order to make progress possible in overcoming the initial premises and promote qualitative changes in undergraduate courses in visual arts through a critical look at the proposals suggested / Esta investigação desenvolvida na Linha de Pesquisa Ensino de Arte do Programa de Pós-Graduação de Artes Visuais da UDESC é parte integrante do Observatório da Formação de Professores de Artes Visuais: estudos comparados entre Brasil e Argentina. Fundamentou-se na abordagem qualitativa, tendo como processo metodológico a análise de conteúdo proposta por Bardin (2009) e caracterizando-se como estudo do tipo estado da arte. O objetivo principal foi indagar como se caracterizam as contradições que emergem das pesquisas sobre formação de professores de artes visuais. A coleta dos dados ocorreu entre março de 2012 e março de 2013 tendo por base as dissertações e teses catalogadas no site da CAPES e desenvolvidas a partir do ano 2000 com foco exclusivo na licenciatura de professores de artes visuais. Foram rastreadas 13 pesquisas: nove dissertações e quatro teses. A análise documental se deu através da divisão em dois grupos: pesquisas desenvolvidas nos programas de pós-graduação em educação e pesquisas desenvolvidas nos programas de pós-graduação em artes visuais. O referencial teórico condutor ancorou-se no materialismo dialético, com ênfase no pensamento filosófico de Antonio Gramsci (1891-1937), na medida em que este ressalta o papel do senso comum nos embates sociais, neste caso, na formação inicial de professores de artes visuais. Foram mapeadas as premissas iniciais dos pesquisadores buscando, na caracterização das pesquisas, compreender como as mesmas se constituem. Os dados levantados mostram que a maior parte dos estudos foi desenvolvida nos programas de pós-graduação em educação, apresentando propostas para a licenciatura em artes visuais voltadas para a construção dos saberes docentes no processo de formação. As pesquisas dos programas de pós-graduação em artes visuais ressaltaram a importância do rigor conceitual no decorrer da formação. O confrontamento do conjunto das pesquisas apontou contradições em relação a três categorias: conceito de arte, papel do professor/formador e encaminhamentos curriculares da licenciatura. Com base nas contradições evidenciou-se a necessidade de ampliação de espaços de diálogos entre os pesquisadores para que se possa avançar na superação das premissas iniciais e promover mudanças qualitativas nos cursos de licenciatura em artes visuais através de um olhar crítico para as propostas sugeridas.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:25:52Z (GMT). No. of bitstreams: 1 Careta_MarcoAurelioFigueroa_M.pdf: 21264570 bytes, checksum: 0946c350683c17923715e4508bf1d62c (MD5) Previous issue date: 2013 / Resumo: Este trabalho teve por objetivo perscrutar o discurso poético de Manoel da Costa Ataíde presente na sua pintura em perspectiva realizada no forro da nave da Igreja de São Francisco de Assis em Ouro Preto, no provável período compreendido pelos anos de 1801 e 1812. Considerando os questionamentos de ordem epistemológica acerca da investigação crítica de uma obra de arte apresentados pelos Estudos Visuais, a referida obra foi focada como portadora de um discurso de natureza poética realizado por um artista através de uma pintura. Na abordagem da obra e do discurso por ela portado, foi considerada a essencial relação entre arquitetura e pintura inerente ao que de modo geral é chamado de pintura em perspectiva. Também foram considerados dados relativos ao autor da mesma, cuja naturalidade é de Mariana, Minas Gerais, e dados relativos ao contexto no qual ela se deu. Quanto ao contexto, ele foi interpretado a partir daquilo que possuía de imediato e de particular em relação aos contextos com os quais teve importantes relações, sendo que, foi chamado de mineiro tanto se diferenciando quanto se aproximando dos demais contextos do Brasil colonial, contemporâneos ou anteriores a ele, assim como se diferenciando e se aproximando de determinados contextos europeus devidamente destacados e justificados, dentre eles principalmente o português, o italiano e o francês. Dentre os contextos coloniais brasileiros foi importante distinguir o contexto que também se deu em Minas Gerais, e se deu principalmente do começo do século XVIII até a Inconfidência Mineira, do contexto no qual a própria obra se deu, o qual data do início do século XIX. Foram aproximadas a essa obra de Ataíde inúmeras outras obras de diversos artistas, mas, preferencialmente, além das demais obras do próprio artista marianense em questão, obras de artistas realizadas em contextos que possuíram alguma relação com o contexto mineiro e, sempre que possível, obras que puderam ser conhecidas pessoalmente pelo autor deste trabalho. Portanto, foram realizadas algumas viagens para possibilitar o contato pessoal com obras, por vezes, bastante específicas e que são encontradas em diferentes locais do sul do continente europeu. Como resultado deste trabalho foram elaboradas proposições acerca do discurso poético perscrutado, as quais, invariavelmente, revelaram uma grande sinceridade presente em tal discurso e que, ao mesmo tempo, confirmaram a potência genuína das diversas manifestações artísticas que, como um todo, ocorreram em Minas Gerais entre meados do século XVIII e início do século XIX, potência esta em cuja qual a contribuição de Manoel da Costa Ataíde é inestimável / Abstract: This study aimed to peer into the poetic discourse of Manoel da Costa Ataide present on his perspective painting held in the lining of the nave of the Church of St. Francis of Assisi in Ouro Preto, in the probable period comprehended by the years of 1801 and 1812. Considering the questions of epistemological order about the critique investigation of a work of art presented by Visual Studies, the referred work was focused as having a speech of poetic nature performed by an artist through a painting. In the approach of the work and of the discourse ported by it, was considered the essential relationship between architecture and painting inherent in what is generally called perspective painting. Were also considered data relating to the author of the same, whose naturalness is from Mariana, Minas Gerais, and data relating to the context in which it occurred. Regarding the context, it was interpreted from what it had of immediate and of particular in relation to the contexts with which had important relationships, whereas, was called of mineiro both differentiating and approaching of other contexts of colonial Brazil, contemporary or previous of it, as well as differentiating and approaching to certain European contexts properly highlighted and justified, including mainly the Portuguese, the Italian and the French. Among the Brazilian colonial contexts was important to distinguish the context that also took place in Minas Gerais, and took place mainly from the early eighteenth century until the Minas Conspiracy, of the context in which the work itself was given, which dates from the early nineteenth century. Were approached to this work of Ataíde numerous other works of many artists, but, preferably, in addition to other works by himself the artist of Mariana in question, works of artists performed in contexts that possessed some relationship with the mineiro context and, whenever possible, works that could be known by the author of this work. Therefore, there were realized a few trips to allow personal contact with works, sometimes, quite specifics and that are found in different locations of the south of the European continent. As the result of this work were prepared propositions about the poetic speech peered, which ones, invariably, showed a large sincerity present in such speech and which, at the same time, confirmed the genuine potency of the many artistic expressions that, as a whole, occurred in Minas Gerais between the mid-eighteenth century and the early nineteenth century, potency that in which the contribution of Manoel da Costa Ataide is invaluable / Mestrado / Artes Visuais / Mestre em Artes Visuais

This diploma thesis covers the pupils with visual impairment who are school educated through the supportive measures of varying degrees. Firstly, it describes the essential concepts related to the topic. The first chapter introduces visual functions and their most common disorders, plus visual disorders in childhood which can be encountered in education. In following chapters, the definition and classification of terms used in the Catalogue of support measures in the Czech Republic is introduced and defined. The main terms covered are visual impairment and impaired visual perception and the education specifics are described for each groups of pupils according to the severity of visual impairment. This thesis also contains detailed analysis of support areas and each supportive measure designed for pupils in need of support in education due to the visual impairment and impaired visual perception. In the second part of practical study, research goals and questions are defined. From medical and other relevant reports of special pedagogical centre the qualitative research analysis had been conducted. The data were collected from selected primary school pupils who are using varying degrees of supportive measures. In total, it includes insight of seven pupils who are educated with the second, third and...

Pre-school age is a very important period for all children because at this time they gain most of their basic skills, knowledge, habits and experience. The fundamentals of their lifestyle and free time spending is made up in this period too. In my thesis I would like to highlight the big importance of leisure time education as the essential means of an art creativity development for pre-school children. In this work I specialize in an art creativity development in particular. My work is devided into two parts {--} the theoretical and the practical one. In the theoretical part I aim generally at the education and upbringing of pre-school children. Here I deal with children´s development of the aesthetic education, creativity and fantasy. I try to penetrate more into the world of children´s free time, interests and visual games. I also remembered to mention the children´s motivation and the necessity of a suitable setting for doing their free time activities. Further I give description on general rules of children´s development, their socialization and temperament. I shortly deal with the pedagogues´characters, their relation-ships to children and visual art and the way of their teaching as well. The core of my thesis is the second - practical part, in which all findings are demonstrated in the creative project About the air (O Vzduchu). The project should contribute to children´s development of positive approach to the nature and coun-tryside and to more prosperous emotional apprehension and experience. I try to use the features of an aesthetic, motoric, literary and dramatic education in all my project. In the thesis conclusion I state all results discovered in the course of the project implementation.

Purpose – While single theoretical approaches related to visual humanities research and in particular digital 3D reconstruction – as the virtual, interpretative 3D modeling and visualization of historical objects – are widely described in compendia like Wikipedia, and various publications discuss approaches from certain disciplinary perspectives, a comprehensive and multidisciplinary systematization is still missing. Against this background, the research activity described within this article is intended to gain a wide and multidisciplinary overview for research approaches, theories, and methods which are relevant to investigate or explain knowledge-related phenomena in the context of visual humanities research and education. Design/methodology/approach – To meet these interests we intend to set up a Wiki resource as a structured repository. The content will be based on (a) interactive workshops held at conferences to collect and structure knowledge assets on visual knowledge involving experts from different domains. Moreover, (b) a student seminar starting in early 2017 is designated to describe some typical research designs as well as amend related methods and theories in the Wiki resource based on Wikipedia articles. A content structuring principle for the Wiki resource follows the guidelines of Wikimedia as well as plans for the results to be populated again in Wikipedia. Originality/value – While Wiki approaches are frequently used in the context of visual humanities, these resources are primarily created by experts. Furthermore, Wiki-based approaches related to visualization are often focused on a certain disciplinary context as, for example, art history. A unique aspect of the described setting is to build a Wiki on digital 3D reconstruction including expertise from different knowledge domains – i.e. on perception and cognition, didactics, information sciences, as well as computing and visual humanities. Moreover, the combination of student work and assessments by experts also provides novel insights for educational research. Practical implications – The intended product is a comprehensive and multidisciplinary structured repository on digital 3D reconstruction research approaches, methods, theories, publication bodies, and good practice examples. The editing of the project results into the Wikipedia will lead to a wide dissemination and visibility of group activities and outcomes as well as enhance competencies of all contributors on collaborative work.