Comment les gestes philosophiques prennent-ils forme dans des œuvres et se matérialisent-ils pour le lecteur philosophe, celui qui saura retrouver les dynamiques de pensée sous-jacentes au texte consigné sur la page ? Pour répondre à cette question, cette étude prend l’exemple des œuvres de Platon, Michel de Montaigne et Jacques Rancière. Chacune mobilise des figures ou personnages et des écritures spécifiques pour donner accès aux gestes caractéristiques des « maîtres ignorants ». Ceux-ci développent et enseignent un rapport au savoir singulier, en rupture avec les philosophies antérieures et avec les discours savants de leur temps. La thèse défend l’idée que la relation du maître ignorant à son disciple est analogue, dans chacune de ces œuvres, à celle que le texte entretient avec son lecteur, dans la mesure où elles expriment, à leur propre manière, les gestes philosophiques de l’auteur. La première partie de la thèse analyse la nature et les fonctions des figures, des gestes et des écritures philosophiques présents dans les textes de ces auteurs. Les trois parties suivantes montrent que la puissance philosophique et pédagogique de leurs œuvres repose sur la cohérence entre ces gestes, figures et écritures des maîtres ignorants. / How do philosophical gestures take shape in the written work and emerge for the philosophical reader, who will be able to find the dynamics of thought underlying the text on the page? To answer this question, this study will examine the works of Plato, Michel de Montaigne and Jacques Rancière. Each of these authors mobilizes specific figures or characters and writings to give access to the characteristic gestures of the « ignorant master ». They develop and teach a singular relationship with knowledge, breaking with earlier philosophies and with the scholarly discourse of their time. This thesis defends the idea that the relationship between the ignorant master and his disciple is analogous, in the works of each of these philosophers, to that of the text with its reader, insofar as they express, each in their own manner, the philosophical gestures of their author. The first part of this thesis analyzes the nature and functions of the figures or characters, gestures and philosophical writings present in the texts of these authors. The following three parts demonstrate how the philosophical and pedagogical power of their works builds on the coherence between these gestures, figures and writings of the ignorant schoolmasters.

Submitted by RODRIGO NERIS null (rodrigo-neris@uol.com.br ) on 2016-10-18T03:04:50Z No. of bitstreams: 1 Rodrigo Neris - Descaminhos da Experiencia - FINAL.pdf: 2387193 bytes, checksum: 9edb3bf8e2212b32af65b2a0e196cca5 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-10-21T17:39:52Z (GMT) No. of bitstreams: 1 neris_r_me_ia.pdf: 2387193 bytes, checksum: 9edb3bf8e2212b32af65b2a0e196cca5 (MD5) / Made available in DSpace on 2016-10-21T17:39:52Z (GMT). No. of bitstreams: 1 neris_r_me_ia.pdf: 2387193 bytes, checksum: 9edb3bf8e2212b32af65b2a0e196cca5 (MD5) Previous issue date: 2016-08-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho relata a pesquisa de um professor sobre a experiência estética em sua pratica docente, a qual apresenta uma abordagem sobre experiência, educação e ensino de arte na perspectiva do par experiência/sentido proposto por Jorge Larrosa Bondía. No percurso de investigação, o professor criou um grupo de pesquisa com alguns de seus estudantes do Ensino Médio da Escola Estadual Professora Heloiza Therezinha Murbach Lacava, em Santa Bárbara d’Oeste/SP. Com apoio teórico de John Dewey, Jorge Larrosa Bondía e Jacques Rancière, o texto apresentado na dissertação articula três vozes: a dos pensadores e filósofos, a do professor de arte e pesquisador e a dos estudantes do grupo de pesquisa em seus processos de reflexão e investigação da temática, imbricando as principais ideias em desenvolvimento na narrativa aos textos A função da Arte 1 de Eduardo Galeano e Onda de Susy Lee, evocados como metáforas por sua força poética, a lhes conferir corpo e lhes alimentar de sentidos. Em meio a experiência vivenciada pelo professor e pelos estudantes no grupo de pesquisa, desenvolve-se condições que possibilitam tecer algumas considerações que contribuem para a compreensão das ideias de ignorância do mestre e emancipação, apresentados por Rancière. / This work reports a teacher’s research about the aesthetic experience in his professional practice, which presents an approach about experience, education and art education using the pair experience/sense suggested by Jorge Larrosa Bondía. On the investigation route, the teacher has created a research group with some of his High School students from the public school Professora Heloiza Therezinha Murbach Lacava, in Santa Bárbara d’Oeste, São Paulo state. With the theoretical support from John Dewey, Jorge Larrosa Bondía and Jacques Rancière, the text presented on this thesis articulates three voices: the one from the thinkers and philosophers, another one from the art teacher/researcher and a last one from the students taking part in the research group during their reflection processes and this theme’s investigation, interrelating the main ideas being developed in the texts A função da Arte 1 from Eduardo Galeano and A Onda from Susy Lee, mentioned as metaphors because of their poetic strength, vesting matter in them and feeding them with senses. Among the experience lived by the teacher and the students from the research group, conditions are developed to comment on some considerations which contribute to the understanding of the concepts of master’s ignorance and emancipation presented by Rancière.