Submitted by Maicon Juliano Schmidt (maicons) on 2015-04-24T12:12:07Z No. of bitstreams: 1 Marta Cristina Cezar Pozzobon.pdf: 1268473 bytes, checksum: 1871c4af4bb37ff036505e31a125fca6 (MD5) / Made available in DSpace on 2015-04-24T12:12:07Z (GMT). No. of bitstreams: 1 Marta Cristina Cezar Pozzobon.pdf: 1268473 bytes, checksum: 1871c4af4bb37ff036505e31a125fca6 (MD5) Previous issue date: 2012-12-12 / Nenhuma / Esta tese problematiza a formacao de professores que ensinam matematica nos anos iniciais a partir de um Curso de Formacao de Professores de Nivel Medio de uma Escola do interior do Rio Grande do Sul, nas decadas de 1960 a 2000, considerando algumas aproximacoes dos estudos foucaultianos, da area da educacao e da area de educacao matematica. As questoes que orientaram a pesquisa sao: de que forma os saberes matematicos constituiram as praticas de ensino de matematica de nivel medio (Normal/Magisterio) do Curso de Formacao analisado? Que praticas de ensino de matematica operaram na formacao de professores de anos iniciais no periodo analisado? Para dar conta de tais questoes, as ferramentas analiticas ?\praticas discursivas de formacao., ?\regimes de verdade. e ?\jogos de verdade. foram se constituindo juntamente com as analises do material, que consistiu de: um livro de atas de estagio, oito entrevistas com professores que trabalharam no Curso, quatro questionarios com supervisoras de estagio, um caderno de planejamentos, um Programa Experimental de Matematica, duas apostilas de planejamentos e duas propostas de estagio. Do exercicio de analise empreendido, resultaram dois movimentos, nomeados como regimes e jogos de verdade. No primeiro, sao apresentados os regimes de verdade constituidos na producao do desenvolvimento do raciocinio e do comportamento, a partir da alianca entre a psicologia e a pedagogia, no final do seculo XIX e inicio do seculo XX, no sentido de investir em praticas voltadas ao desenvolvimento do raciocinio, a producao de um sujeito inteligente, a aprendizagem de conceitos, ao uso do material concreto, ao raciocinio logico. No segundo movimento, os jogos de verdade e uma politica de verdade enfatizam as praticas de ensino de matematica voltadas aos discursos das pedagogias centradas na crianca, na pedagogia critica, em que a enfase esta em ensinar a partir do interesse da crianca, do tema gerador, da globalizacao e da realidade do aluno. Esses jogos de verdade produzem efeitos na formacao de professores, produzindo outra matematica, que assume a funcao de luta politica e esclarecimento de consciencias, tanto de alunos quanto de professores. Com essas praticas, produzem-se outros modos de ver e de dizer a matematica, o professor e o aluno. Dessa forma, a analise empreendida permitiu argumentar que as praticas de ensino de matematica nos anos iniciais constituem e sao constituidas por jogos de verdade que envolvem as concepcoes de conhecimento cientifico, de matematica, de ensino de cada epoca e de sujeito, articuladas pela razao de um Estado governamentalizado. / From approximations to both Foucauldian studies and investigations in the areas of education and mathematical education, this thesis problematizes the education provided by a Teaching Course from 1960 to 2000 in a countryside high school in Rio Grande do Sul to teachers who teach mathematics to the early grades. The questions that have guided this research are the following: How did mathematical knowledge constitute the mathematics teaching practices of the high school Teaching Course analyzed? Which mathematics teaching practices operated on the education of early grade teachers in the period analyzed? In order to address these questions, the analytical tools of ‘discursive education practices’, ‘regimes of truth’ and ‘games of truth’ were considered along the analysis of the material, which consisted of the following: a training record book, eight interviews with teachers that taught the Course, four questionnaires applied to training supervisors, a planning notebook, a Mathematics Experimental Program, two planning booklets and two training proposals. Two movements resulted from the analysis, and they were named as regimes and games of truth. The first one is related to regimes of truth constituted in the production of the development of reasoning and behavior, from the alliance between psychology and pedagogy in the late nineteenth century and early twentieth century by investing in practices directed to reasoning development, production of intelligent subjects, concept learning, use of concrete material, and logical reasoning. In the second movement, the games of truth and a politics of truth emphasize mathematics teaching practices directed to discourses of pedagogy centered on the child, in the critical pedagogy, in which the emphasis has been put on teaching from the child’s interest, the generating topic, the globalization and the student’s reality. Such games of truth have produced effects on teacher education by producing other kind of mathematics, one that assumes the function of political struggle, of enlightenment of consciences of students and teachers. With these practices, other ways of regarding and talking about mathematics, teachers and students have been produced. The analysis has led to the argument that the mathematics teaching practices of early grades both constitute and are constituted by games of truth, involving the conceptions of scientific knowledge, mathematics knowledge, teaching knowledge and subject in different times, and such conceptions are articulated by the reason of a governmentalized State.

Submitted in partial fulfillment of the requirements for the degree of Master of Technology : Fine Arts, Durban University of Technology, Durban, South Africa, 2014. / The motivation for this research results from the notion that art-making is a regenerative enriching process that can counteract the sense of dislocation that one suffers as a consequence of depression. The study has two objectives: to open a discourse around the transformative function of art for a person suffering depression; and challenge notions of dominant constructed ideals of normality by presenting alternative realities of the performative mind. From the earliest memories of my life, I knew I did not fit in, I was not part of the crowd. Depression has been my companion ever since I can remember. The intention for this self-study is to interrogate the ways in which art can become a self-actualising process in coping with depression. The content for this research deals with narratives of the mind, that is, my understanding of who I am. I have therefore, positioned myself as the pivot for this research, drawing on authentic personal experiential knowledge. This autobiographical phenomenological study is thus a self-reflexive exploration addressing concepts of difference and belonging in relation to social constructs of acceptability. The study looks at contemporary concepts of multiple selves, relationality and the application of therapeutic methodologies within art practice. Art-making becomes games of truth, mind games that offer alternative realities and possibilities for the construction of complex, multi-faceted narratives as dialogues between the self and the inner critic. Of importance is the concept that self is not a fixed conclusive notion but one that continues to unfold, shift and become a multi-layered construct. These new narratives examine how creativity enables or creates a sense of belonging or re-positioning of one’s states of mind. The overall intention of the art-making process is its potential for transformative self-recovery processes – the re-construction of who we are, rather than how we are perceived. This research thus examines the notion of belonging in this world through body/land enactments of ritualised behaviour. The body as metaphor investigates rites of passage as the re-tellings of one’s story within specific body/site/space relationships. The ideal of connection to site is central as a means of renewal and recovery – these performative relationships become the creative meaning-making processes of locating or positionality. In support of these ideas and concepts, the work of Ana Mendieta, Magdalena Abakanowicz and Suzanne Lacy are considered in relation to ideals of positionality and as reflecting each artist’s ethics or paradigms of equality. Artworks are examined against the notion of locating oneself within social contexts. The aim is to question the intention and outcomes of art-making as social function in dealing with issues of marginalisation and stigma. Performativity, personal writings/reflections and memory drawings are the quintessential tools of my art-making. The written psychological renderings and unravellings of my mind, questionings that are both reflexive and critical, are intentionally presented in dialogical, conversational and direct modes. This personal tone aims to allow a scope into my mind – it is my perspective from the inside, my voice, my personal understanding of the potential of art as a metaphorical process of transformation. Lacy asserts that the artist becomes a witness, reporter and analyst for socio-culturally biased concerns; a performance gives public articulation and permission to speak out loud, gives voice to internal dialogues, reveal information that requires questioning and that personal individual experience has profound social implications. Lacy believes that it is an innate human need to reflect on the meaning of one’s life and one’s work (2010:176-177). Central to the findings of this study, are both the transgressive and transformative functions of art. / M

A Sceptical Aesthetics of Existence: The Case of Michel Foucault Emmanouil Simos (Hughes Hall) Michel Foucault's genealogical investigations constitute a specific historical discourse that challenges the metaphysical hypostatisation of concepts and methodological approaches as unique devices for tracking metaphysically objective truths. Foucault's notion of aesthetics of existence, his elaboration of the ancient conceptualisation of ethics as an 'art of living' (a technē tou biou), along with a series of interconnected notions (such as the care of the self) that he developed in his later work, have a triple aspect. First, these notions are constitutive parts of his later genealogies of subjectivity. Second, they show that Foucault contemplates the possibility of understanding ethics differently, opposed to, for example, the traditional Kantian conceptualisation of morality: he envisages ethics in terms of self-fashioning, of aesthetic transformation, of turning one's life into a work of art. Third, Foucault employs these notions in self-referential way: they are considered to describe his own genealogical work. This thesis attempts to show two things. First, I defend the idea that the notion of aesthetics of existence was already present in a constitutive way from the beginning of his work, and, specifically, I argue that it can be traced in earlier moments of his work. Second, I defend the idea that this notion of aesthetics of existence is best understood in terms of the sceptical stance of Sextus Empiricus. It describes an ethics of critique of metaphysics that can be understood as a nominalist, contextualist, and particularist stance. The first chapter discusses Foucault's late genealogy of the subject. It formulates the interpretative framework within which Foucault's own conceptualisation of the aesthetics of existence can be understood as a sceptical stance, itself conceived as nominalist, contextualist and particularist. As the practice of an aesthetics of existence is not abstract and ahistorical but the engagement with the specific historical circumstances within which this practice is undertaken, the second chapter reconstructs the intellectual context from which Foucault's thought has emerged (Heidegger, Blanchot, and Nietzsche). The third chapter discusses representative examples of different periods of Foucault's thought -such as the "Introduction" to Binswanger's "Traum und Existenz" (1954), Histoire de la folie (1961), and Histoire de la sexualité I. La volonté de savoir (1976)- and shows in which way they constitute concrete instantiations of his sceptical aesthetics of existence. The thesis concludes with responses to a number of objections to the sceptical stance here defended.