Esta dissertação de mestrado situa-se no contexto da atual crise do Ensino Médio, a qual acontece num contexto influenciado por fatores extra e intra-escolares, demonstrando uma inadequação da instituição escolar às necessidades e aos interesses dos jovens estudantes. Confrontamo-nos, aqui, com questões referentes ao sentido das práticas da instituição escolar em relação ao cotidiano dos jovens. Observou-se a juventude que compõe esse nível de ensino com as lentes da História Cultural, que considera não apenas os documentos oficiais como representantes dos fatos históricos, mas, também, as construções culturais das pessoas, suas impressões sobre o ambiente que as cerca, sobre os acontecimentos com os quais estabelecem contato, suas subjetividades, suas narrativas. O objeto central de estudo desta pesquisa é a relação pedagógica entre o professor e os jovens estudantes, o qual exigiu que os atores envolvidos fossem ouvidos em suas percepções sobre a mesma. Tais percepções foram observadas por meio da analise decorrente de aplicação de questionários estruturados, tendo como participantes 3 professores de uma escola pública, 2 professores de uma escola privada, 52 estudantes de uma escola pública e 89 estudantes de uma escola privada de Caxias do Sul. A entrevista constituiu em procedimento complementar para a construcao do bando de dados da pesquisa. Entre as conclusoes formuladas no percurso do estudo, encontram-se percepções dos professores e estudantes sobre a relação pedagógica, suas indicações voltadas às necessidades de reestruturação dessa relação e as dificuldades referidas por ambos para colocar essa reestruturação em prática. As contribuições de Paulo Freire (2013), sobre a importância do diálogo pedagógico embasaram a reflexão, as quais foram agregadas das formulacoes de autores cujos estudos associam juventude e Ensino Medio, entre eles: Juarez Dayrell, Elisete Tomazetti, Nara Ramos, Adriano Oliveira e Vitor Schlickmann. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-10-26T16:04:14Z No. of bitstreams: 1 Dissertacao Phelipe Rodrigues Marocco Dornelles.pdf: 2519794 bytes, checksum: 8b7a6f6b7d59fc3d2e1ed5f5483e376e (MD5) / Made available in DSpace on 2015-10-26T16:04:14Z (GMT). No. of bitstreams: 1 Dissertacao Phelipe Rodrigues Marocco Dornelles.pdf: 2519794 bytes, checksum: 8b7a6f6b7d59fc3d2e1ed5f5483e376e (MD5) / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul.

Trata-se de dissertação de mestrado que pretende aprofundar a reflexão sobre a música e a educação na infância. Nesse sentido, não se trata de inventariar metodologias do ensino musical ou considerações de caráter técnico-musical para aplicações didáticas, mas a possibilidade de uma educação da infância que tenha como objetivo o encontro entre professor e aluno, a busca de auto-conhecimento e a expressão, através da música. A autora coloca no primeiro capítulo, Parte A, uma abordagem antropológica da música, pensando-se na universalidade dos sons humanos que se ouve e se produz, sugerindo o conceito Fundamentos sonoros do ser para distinguir a música enquanto som, não restringindo-se à canção ou teoria musical. A partir desses fundamentos, coloca-se a Paisagem sonora, enquanto sons que rodeiam o ser humano, distinguindo-se duas qualidades que a constitui, a paisagem sonora natural e a cultural, e a conversão semiótica das paisagens, como um exercício de reconstruir e ressignificar o mundo. Questiona-se a paisagem sonora contemporânea e a importância do resgate mitico no Prelúdio, rumo ao oceano. Para assim, adentrar-se na relação do mito com a música, no Refrão, Música Oceânica, em que se apresenta o conceito da música profunda que habita o ser humano e que o entrelaça na relação pedagógica. Na segunda parte, Parte B, articula-se os conceitos colocados aos princípios da educação, com o Vestido azul: desdobramentos educacionais do encontro, trazendo à tona as possibilitudes da relação mestre-discípulo numa educação para a infância, explicitada em experiências da trajetória da autora como professora em atividades musicais com crianças. No final, como uma Última nota, coloca-se um encaminhamento da pesquisa, com reflexões que unem as teorias abordadas com as experiências vividas, sugerindo ao educador da infância o exercício da sensibilidade através da expressão musical. / This dissertation is about a study that intends to go underneath the reflection of music and education in the childhood. This way, its not about creating new methodologies on how teaching music or technical-musical considerations for didatic aplications, but the possibility of a childhood education focused on an encounter between professor and pupil, the search for self-knowledge and inner expression through music. The author describes on the first chapter, Part A, an antropological approach of music, considering the universality of human sounds the one hears and produces, suggesting the concept of Sonorous principles of the being to distinguish music as a sound, instead of minimizing it to song or simple musical theory. This way, the Sonorous Landscape is presented, as the sounds that surround the human being, differing two qualities that embodies it: the sonourous natural landscape and the sonourous cultural landscape and also the semiotical convertion of the landscape as a way to rebuild and remeaning the world. Contemporary sonorous landscape is questioned, also is pointed the relevance of the mythical rescue, in Prelude to the ocean, going deep on the relationship between music and myth, in Refrain, Oceanic Music, presents the concept of profound music that lives in the human being and puts him in contact with the pedagogical relations. In the second part, Part B, the concepts put on educational basis are articulated, with Blue Dress: educational unfold of the encounter, brings to light the possibilities of the relationship master-pupil on the childhood, explicited on the authors experience as a teacher in musical activities with children. In the end, as Last note, reflections are made with the approached theories and lived experience suggesting to the educator the exercise of sensibility through musical expression.

Esta dissertação de mestrado situa-se no contexto da atual crise do Ensino Médio, a qual acontece num contexto influenciado por fatores extra e intra-escolares, demonstrando uma inadequação da instituição escolar às necessidades e aos interesses dos jovens estudantes. Confrontamo-nos, aqui, com questões referentes ao sentido das práticas da instituição escolar em relação ao cotidiano dos jovens. Observou-se a juventude que compõe esse nível de ensino com as lentes da História Cultural, que considera não apenas os documentos oficiais como representantes dos fatos históricos, mas, também, as construções culturais das pessoas, suas impressões sobre o ambiente que as cerca, sobre os acontecimentos com os quais estabelecem contato, suas subjetividades, suas narrativas. O objeto central de estudo desta pesquisa é a relação pedagógica entre o professor e os jovens estudantes, o qual exigiu que os atores envolvidos fossem ouvidos em suas percepções sobre a mesma. Tais percepções foram observadas por meio da analise decorrente de aplicação de questionários estruturados, tendo como participantes 3 professores de uma escola pública, 2 professores de uma escola privada, 52 estudantes de uma escola pública e 89 estudantes de uma escola privada de Caxias do Sul. A entrevista constituiu em procedimento complementar para a construcao do bando de dados da pesquisa. Entre as conclusoes formuladas no percurso do estudo, encontram-se percepções dos professores e estudantes sobre a relação pedagógica, suas indicações voltadas às necessidades de reestruturação dessa relação e as dificuldades referidas por ambos para colocar essa reestruturação em prática. As contribuições de Paulo Freire (2013), sobre a importância do diálogo pedagógico embasaram a reflexão, as quais foram agregadas das formulacoes de autores cujos estudos associam juventude e Ensino Medio, entre eles: Juarez Dayrell, Elisete Tomazetti, Nara Ramos, Adriano Oliveira e Vitor Schlickmann. / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul.

M.Ed. (Multiculturalism and Education) / That we live in a very diverse multicultural society which is in the process of change is a reality. Education, as one of the social systems, needs to contribute to the establishment of sound intergroup relationships and eliminate the educational gap that exists within the south African society. To bring about this change we need a system which "will lead to recognising cultural values and differences among and between ethnic groups and individuals and will develop strategies that enhance communication, develop cross cultural understanding and awareness, which will lead to a more positive learning outcome" (Sieburth, quoted by Goodey, 1989:481). The possibility of opening government schools to pupils from the other population J groups was announced early in 1990. In her survey on private open schools Pam Christie found that the opening up of schools did not bring about a greater understanding of the complexity of the South African situation amongst the pupils (1990:99). To undertake the task of eliminating inequalities and help the people of South Africa to understand each other we need an education system which will be "focusing on the need of all pupils to feel creatively comfortable with 1987:7). The cultural diversity as the norm" The introduction of an educational system which is sensitive to the multicultural composition of the South African population will have to take into consideration the institutionalised discrimination which has become a feature of the South African social system and address this issue in an effort to bring about the enhancement of the self-concept of the disadvantaged pupils. The reduction and eventual elimination of prejudice will have to be a central strategy of a multicultural educational system. The important role to be played by teachers in an educational system of this kind is self-evident. Lynch expresses it as follows,"This task involves teachers in a redefinition of their role and an increased recognition of their responsibility for prejudice reduction and eradication as new goals for education in a democracy (Lynch, 1987:xi).

M.Ed. / South African education is emerging from one phase of history, the phase of a segregated education system, into another phase where the nature is still to be defined. This emergence will bring along with it transformations unknown over the previous phase of educational history which lie mainly on the level of humanity, that is to say changes affecting the beliefs, attitudes, norms and values of the individuals and the community they belong to. The whole concept of man-in-the-world as the establishment of the world, the environment of the educator as well as the educand in this total situation, leads us to conceive of education as an interhuman phenomenon. The establishment of relationships in the world is a continuous effort to give completeness to man's existence by appropriating and adopting the historical development of the cultural situation. The interaction and the close relationship of culture and education in general is indisputable. For education to succeed, man comes to the fore while his culture forms the background. The opening up of "white schools" to all the population groups in South Africa did not bring about a greater understanding of the complexity and pluralistic nature of the South Africa society. The cultural factors in education play an important role in the application of universal educational and cultural principles in the provision of education. The cultural position of the black learner in Model C or multicultural schools has been eroded and is being marginalised by socio-political and educational issues quite beyond his area of competence as a learner. As a result, the expectations the teacher has of the black pupils are too great and are daunting for the pupil. Both the teacher and the learner are not competent enough, they are being dis-empowered. It is at this point that problems in the teaching-learning situation manifest themselves. The transformation process currently taking place in most multicultural schools has many problems relating to this. There are definite areas of concern which need to be looked into, solutions to be found and implemented in order to assist the black pupil. and his teachers to find their feet in the new education dispensation. Essentially a ground motive in every community is a motive of that particular community, the driving force behind all activities, including educational activities - the spiritual root of a particular community, so to speak. The cultural aspects in education will probably remain one of the most critical areas determining whether South Africa can in fact achieve the same education through one and the same department, one and the same curriculum, one and the same examination format. This study will attempt to research the cultural aspects of education concentrating on Model C schools and will put forward some recommendations for the implementation of solutions to the problems the black learner is confronted with.

It is thus the purpose of this study to explore the educational aspirations of a group of high school students whose ethnic background is Chinese with the intention of filling the gap in sociological research that has overlooked the Chinese community. As there are many opposing theories on the subject of aspiration, this case study of Chinese students seeks to clarify some of the theoretical perspectives and their problems. Moreover, any study of a minority group would inevitably expose some of the problems that the group faces. Once the nature of the problems is identified and understood, hopefully, solutions may be forthcoming. It is for these research, theoretical, and practical reasons that the present study is undertaken.

D.Ed. / This study focuses on the problem of the lack of a culture of learning in schools of the former Department of Education and Training (DET). It is common knowledge that the culture of learning in many schools leaves much to be desired. The schools are characterised by early school dropout, an anti academic attitude, low morale among pupils and teachers, loss of time on a large scale and poor results. The purpose of this study is to analyse, describe and classify the nature of the culture of learning in schools of the former DET in parts of Gauteng, Mpumalanga and the Free State. This purpose was realised by undertaking a theoretical investigation in the first place and secondly an empirical investigation into various aspects of the culture of learning. In the theoretical investigation, which served as basis for the empirical investigation, an attempt was made to obtain clarity about the meaning of the concept 'a culture of learning'. A concept analysis indicated that 'a culture of learning' points to the disposition towards learning and the atmosphere of diligence_ or industry that develops in a school as a result of a combination of the personal characteristics of pupils, certain elements in the family, elements in the school and elements in the community. The empirical investigation consisted of visits to fourteen schools in parts of Gauteng, Mpumalanga and the Free State. Qualitative and quantitative methods were combined during the empirical investigation. During the quantitative investigation objective observation techniques were used, namely two questionnaires - one for teachers and one for pupils. During the qualitative investigation participating data collection techniques were used, namely semi-structured interviews with pupils, teachers, principals and DET officials. By combining these two procedures a clearer overall representation could be obtained of the nature of the culture of learning in schools and the validity of the eventual conclusions could be promoted by the process of triangulation. A few deductions concerning the personal characteristics of pupils, elements of the family and elements of the school are hereby presented: Prominent features of pupils that are a result of the qualitative and quantitative data and that have an inhibiting influence on the culture of learning, include: irregular school attendance and a lack of punctuality ; an inadequate language code and a limited capacity of expression ; inadequate study methods ; an inferior knowledge base or frame of reference ; the absence of a work ethic ; the presence of a passive or unconcerned attitude towards learning a lack of motivation and discipline. The investigation proved that the family structure forms the foundation on which the culture of learning at school must build. As a result of various. problems the families of a large number of pupils are not able to support the pupil in preparing for the demands of the school. These problems include: the disintegration of families ; the lack of involvement of parents ; illiteracy of parents ; inadequate facilities in the home. 3 • Prominent features of schools with a negative influence on the culture of learning that continue the vicious cycle of poor performance and failure, include: disorder and lack of discipline the ineffective functioning of the principal ; an inadequate culture of teaching/instruction ; wasting of time on a large scale ; over occupation and inadequate facilities. Many of the problems that have a negative influence on the culture of learning in schools of the former DET, are deeply embedded in the South African community. It must therefore, be accepted that the solution to the problem regarding the culture of learning in South Africa will require time, intensive attention and a change of attitude in all parties concerned, in order to be solved.

Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima, conforme trabalhadas por Gaston Bachelard. Os instrumentos musicais (animus) não passam de potência se não colocados em movimento pelo sopro da anima, pelo envolvimento da sensibilidade devaneante da pessoa. A abertura de um Ser selvagem (Merleau-Ponty) ao arrebatamento da música coloca-o em contato com a própria existência encarnada de quem a produziu: o sentido inaudível de um extrato audível está marcado pela presença do outro neste mundo sonoro que compartilham ouvinte e cantor. A música, assim, permite a comunicabilidade das subjetividades, um diálogo transubjetivo que escancara as vias de acesso do homem ao homem justamente o que de mais fundamental se busca em educação. Nesse sentido, pode-se afirmar que há uma dimensão educativa da música (uma vez que ela colabora para o diálogo, para uma afirmação da humanidade no homem), assim como há uma dimensão musical da educação (a construção de pessoas lentamente talhadas no tempo, a partir de uma consonância propiciada pelo acerto rítmico entre um mestre e um aprendiz). Harmonia, ritmo, ressonância são palavras que, herdadas do universo sonoro, contribuem para a compreensão da docência. Quer-se, pela educação, encontrar um andamento comum que permita transformar o conflito em diálogo e, então, que não se olvide na trajetória de professores e estudantes o fato de que ali, no cruzamento improvável, no tempo de um instante, dois caminhos se encontraram. A partir dessa troca de substâncias, no cuidado de mãos habilidosas e ouvido atento de um mestre, o discípulo edifica sua própria formação. O preparo do professor que espreita o encontro não se limita ao domínio do conteúdo lecionado nem à familiaridade com um arsenal de métodos pedagógicos que exijam que se ponha de lado a pessoa e suas especificidades. É preciso que o mestre saiba escutar o canto de um canto, o sopro do lugar que se inscreve na voz do aprendiz, e que se empenhe em sempre fortalecê-lo no encontro iniciático. / There is a deep relationship between education and music, one that surpasses the teaching of art. From a phenomenological approach to playing and listening, there can be found mythical structures in music that sustain it as a metaphor for the comprehension of educational activity, through the centrality of an encounter in both fields. Music shares with other forms of art imaginarys mobilizing ability. Its symbolic function withdraws it from the reign of conventional and denotative language; musical manifestation is continuously pregnant of meaning, unveiling expressions impossible to translate in scientific description. With symbols, the artist offers his cosmic reveries to an interlocutor who can discover new worlds that enhance his own Being. Taken as a sonorous image, music belongs to a group of symbols (according to Gilbert Durands anthropological archetypology) that holds dramatic structures in its core, which embeds it with dialectics and rhythm. Therefore, it configures itself as a crepuscular and mixed practice that attracts various reflections through the principles of coincidentia oppositorum (coherence of opposites). To be effective, it depends on the mobilization of two complementary poles of the psyche, animus and anima, as worked out by Gaston Bachelard. Musical instruments (animus) are only potency if not put in motion by a breath of anima, by the involvement of the persons dreaming sensibility. The openness of a Savage Being (Merleau-Ponty) to the enchantment of music puts him in contact with the incarnated existence of its composer: the inaudible meaning of an audible substance is engraved with the presence of an other in this sounding world shared by singer and listener. Music, thus, permit the communicability of subjects, a transubjective dialogue that opens access to man by man precisely what education pursuits as its most fundamental aspect. Accordingly, it can be argued that there is an educational dimension to music (since it favors dialogue and the affirmation of humanity in man), as wells as a musical dimension to education (the construction of persons, slowly carved through time, by a consonance created through a rhythmic agreement of a master and his apprentice). Harmony, rhythm, resonance are all words that, inherited from the universe of sound, contribute to the comprehension of teaching. One hopes to find through education a common tempo that can turn conflict into dialogue this way, throughout the lives of teachers and students, it will not be forgotten that there, in an improbable crossroad, in the fragile time of an instant, two paths met each other. From this exchange of substance, with the caring hands and diligent ears of a master, the disciple builds up his own development. The preparation of a teacher who carefully looks for an encounter is not limited to the mastery of a disciplines content, nor to the familiarity with an arsenal of teaching methods that demands putting aside the real student and his specificities. It is mandatory that the master knows how to listen to the singing of his apprentice, which holds the whisper of his birthplace. Doing so, he will be able to strengthen it throughout this initiatic meeting.

Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima, conforme trabalhadas por Gaston Bachelard. Os instrumentos musicais (animus) não passam de potência se não colocados em movimento pelo sopro da anima, pelo envolvimento da sensibilidade devaneante da pessoa. A abertura de um Ser selvagem (Merleau-Ponty) ao arrebatamento da música coloca-o em contato com a própria existência encarnada de quem a produziu: o sentido inaudível de um extrato audível está marcado pela presença do outro neste mundo sonoro que compartilham ouvinte e cantor. A música, assim, permite a comunicabilidade das subjetividades, um diálogo transubjetivo que escancara as vias de acesso do homem ao homem justamente o que de mais fundamental se busca em educação. Nesse sentido, pode-se afirmar que há uma dimensão educativa da música (uma vez que ela colabora para o diálogo, para uma afirmação da humanidade no homem), assim como há uma dimensão musical da educação (a construção de pessoas lentamente talhadas no tempo, a partir de uma consonância propiciada pelo acerto rítmico entre um mestre e um aprendiz). Harmonia, ritmo, ressonância são palavras que, herdadas do universo sonoro, contribuem para a compreensão da docência. Quer-se, pela educação, encontrar um andamento comum que permita transformar o conflito em diálogo e, então, que não se olvide na trajetória de professores e estudantes o fato de que ali, no cruzamento improvável, no tempo de um instante, dois caminhos se encontraram. A partir dessa troca de substâncias, no cuidado de mãos habilidosas e ouvido atento de um mestre, o discípulo edifica sua própria formação. O preparo do professor que espreita o encontro não se limita ao domínio do conteúdo lecionado nem à familiaridade com um arsenal de métodos pedagógicos que exijam que se ponha de lado a pessoa e suas especificidades. É preciso que o mestre saiba escutar o canto de um canto, o sopro do lugar que se inscreve na voz do aprendiz, e que se empenhe em sempre fortalecê-lo no encontro iniciático. / There is a deep relationship between education and music, one that surpasses the teaching of art. From a phenomenological approach to playing and listening, there can be found mythical structures in music that sustain it as a metaphor for the comprehension of educational activity, through the centrality of an encounter in both fields. Music shares with other forms of art imaginarys mobilizing ability. Its symbolic function withdraws it from the reign of conventional and denotative language; musical manifestation is continuously pregnant of meaning, unveiling expressions impossible to translate in scientific description. With symbols, the artist offers his cosmic reveries to an interlocutor who can discover new worlds that enhance his own Being. Taken as a sonorous image, music belongs to a group of symbols (according to Gilbert Durands anthropological archetypology) that holds dramatic structures in its core, which embeds it with dialectics and rhythm. Therefore, it configures itself as a crepuscular and mixed practice that attracts various reflections through the principles of coincidentia oppositorum (coherence of opposites). To be effective, it depends on the mobilization of two complementary poles of the psyche, animus and anima, as worked out by Gaston Bachelard. Musical instruments (animus) are only potency if not put in motion by a breath of anima, by the involvement of the persons dreaming sensibility. The openness of a Savage Being (Merleau-Ponty) to the enchantment of music puts him in contact with the incarnated existence of its composer: the inaudible meaning of an audible substance is engraved with the presence of an other in this sounding world shared by singer and listener. Music, thus, permit the communicability of subjects, a transubjective dialogue that opens access to man by man precisely what education pursuits as its most fundamental aspect. Accordingly, it can be argued that there is an educational dimension to music (since it favors dialogue and the affirmation of humanity in man), as wells as a musical dimension to education (the construction of persons, slowly carved through time, by a consonance created through a rhythmic agreement of a master and his apprentice). Harmony, rhythm, resonance are all words that, inherited from the universe of sound, contribute to the comprehension of teaching. One hopes to find through education a common tempo that can turn conflict into dialogue this way, throughout the lives of teachers and students, it will not be forgotten that there, in an improbable crossroad, in the fragile time of an instant, two paths met each other. From this exchange of substance, with the caring hands and diligent ears of a master, the disciple builds up his own development. The preparation of a teacher who carefully looks for an encounter is not limited to the mastery of a disciplines content, nor to the familiarity with an arsenal of teaching methods that demands putting aside the real student and his specificities. It is mandatory that the master knows how to listen to the singing of his apprentice, which holds the whisper of his birthplace. Doing so, he will be able to strengthen it throughout this initiatic meeting.

Esta es una investigación de Filosofía de la Educación. Expone los "núcleos fundamentales" o "ejes de sentido" que constituyen la identidad del educador, que se agrupan en cuatro partes: 1) el profesor como mediador moral en el proceso de enseñanza; 2) el problema antropológico y axiológico del proceso de enseñanza; 3) la cuestión de la profesionalidad del educador; y 4) educador y sociedad (la función social del educador). Analiza los "núcleos fundamentales" de la educación en las "fuentes" del pensamiento educativo, en concreto: Platón, Plutarco, Clemente de Alejandría, San Agustín, Montaigne, Luis Vives, Locke, Rousseau y Giner de los Ríos, y contrasta las conclusiones con las teorías educativas que influyen en nuestro sistema educativo. El propósito fundamental de esta investigación es clarificar los fines de la educación y reconstruir la identidad de la educación, intentando superar las tres perspectivas -psicología, economía o política- que más influencia tienen hoy en día. / This is research on the Philosophy of Education. It shows the "basic keystones" or "core meanings" of the teacher´s identity. The author develops the idea along these four lines: 1) teacher as moral mediator in the teaching process; 2) the problem of the anthropological and axiological of the teaching process; 3) the problem of teacher´s professionalism; 4) teacher and society (teacher´s social concern). This study develops these core meanings in the sources of educational thought, specifically: Plato, Plutarch, Clement of Alexandria, Augustin, Joan Lluis Vives, Montaigne, Locke, Rousseau, Giner de los Ríos, and compare their conclusions with educational views which influence on our education established order. The fundamental purpose of this research is brings to light the education aims and reconstruct teacher´s identity. And it pretends to go beyond the three most frequently held views in pedagogical discourse today: psychology, economy and policy.