L'étude se propose de mettre en évidence les nombreuses corrélations existant entre l'espace urbain de la ville de los angeles et le travail d'écriture de wanda coleman, femme noire-américaine originaire du quartier des watts à la carrière littéraire conséquente. l'essentiel de la matière littéraire de coleman se focalise et trouve son point d'ancrage dans la ville en elle-même et pour elle-même. ainsi, en considérant la production poétique de l'auteur dans sa globalité, qu'il s'agisse de recueils, d'ouvrages photographiques ou de supports audio, il s'agira de voir en quoi l'œuvre de coleman ayant pour point de départ un los angeles des années 70 a su retracer, au sein de la matrice poétique qu'elle met en place, l'évolution d'une mégalopole hors normes. qu'en advient-il alors de la totalité de la création littéraire de coleman, et comment peut-elle être considérée ? en effet, ayant fait le choix de cibler sa poésie sur un espace commun en perpétuelle évolution, ne deviendrait-elle pas par conséquent un moyen jusque là peu envisagé de créer un archivage social, culturel et historique d'une ville dont les mutations et développements fascinent. c'est cette fonction d'œuvre-mémoire d'un lieu duquel elle s'inspire associée à un processus de création littéraire que la ville semble elle-même motiver qui sera également un point central de cette étude. quels desseins le projet poétique sert-il alors ? cette union implicite, sorte d'entente cordiale entre la ville et l'auteur qu'elle abrite/ qui l'abrite, manifeste une interdépendance entre deux entités tangibles dans un réel que le mot poétique semble vouloir tantôt dénoncer, tantôt réaffirmer. ce réel sectoriel et imparfait avec lequel coleman fait office de lien, d'interprétateur et juge entre l'espace et les hommes, entre l'espace et sa mémoire deviendrait-il ainsi un objet poétique de l'intangible se servant de lieux communs afin de dénoncer une déshumanisation de la ville, un hyperréalisme, un simulacre que s'évertuait déjà à démontrer jean baudrillard. effigie poétique imprégnée d'un los angeles qu'elle comprend au regard d'une vie passée dans ses dédales, coleman est-elle la figure mémorielle presque prophétique porteuse d'une parole rédemptrice d'une ville infernale. dénonçant ainsi les maux de la ville comme pour en aspirer le venin, coleman de par ses mots serait alors détentrice d'une alliance poétique consubstantielle, servant un projet allant bien au-delà de la simple écriture poétique, comme si l'acte poétique renouvelé dans son aspect le plus primaire permettait de projeter les mots sur les maux passés et présents d'un espace urbain parcellaire, de servir une mémoire essentielle à la survie du réel dans une cité chaotique se tenant au bord du gouffre. / This study aims at shedding some new light upon the many correlations existing between the Los Angeles cityspace and Wanda Coleman’s writings. As an African American woman born in Watts, Los Angeles in 1946, Coleman is the author of a significant literary oeuvre. Whether regarding the urban evolution and construction of the city, its ethnic composition, its socioeconomic conditions or its cultural development, the megalopolis can be read explicitly and implicitly throughout the author’s work, which started in 1979 and ended with the posthumous co-publication of The Love Project in 2014.Post World War II Los Angeles and the great mutations that the territory has been undergoing are, for Coleman, an unending source of material that are both motivating her writing and influencing her craft. The privileged witness of a city under the firm grasp of postmodern ideology of which Los Angeles seems to be the epicenter, Coleman’s work shows the ever-growing gap between an everyday life that is getting more and more brutal and an idealized imagery of the city that imposes itself as the American Way of Life par excellence. That unreachable goal for a disadvantaged and disenfranchised portion of society (about to become the majority of the Los Angeles population), is projected in a perpetual renewal of the American Dream, maintained within reaching distance, as an obscene strategy serving social appeasement. Wanda Coleman thus intends to unsettle an illusion that has been perpetrated and widely distributed through and by Hollywood whose influences, in a mass-media transmission era, cannot be under-estimated. Because she has been able to consider and apprehend the overall dehumanizing process for as long as she can remember, that Coleman is able to assess the import of her art and thus sets its objectives: to rehumanize the dehumanized.

L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte ». / The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining.

Todros ben Meschoullam den David Todrosi (Arles 1314- ?) traducteur à Arles, de 1330 à 1340, est un des derniers protagonistes du mouvement de traduction de l’arabe à l’hébreu qui caractérise l’histoire intellectuelle juive en Provence au Moyen-Âge. L’édition que nous proposons ici, est sa traduction hébraïque du Commentaire Moyen d’Averroès à la Poétique d’Aristote comparé avec le texte arabe de départ et traduite, pour la première fois, en langue française. L’analyse comparée du corpus oriental du Commentaire a été d’une grande importance pour saisir les spécificités intrinsèques de la traduction hébraïque de Todrosi. La thèse comprend, l’étude du contexte philosophique dont Todros Todrosi a travaillé, l’étude de la version hébraïque du Commentaire, ainsi si que son édition accompagnée par et l’analyse paléographique et codicologique des manuscrits hébreux. / Todros Meshullam ben David den Todrosi (Arles 1314-?) Translator in Arles between 1330 and 1340, is one of the last translators who took part to the Arabic translation movement that characterizes Hebrew Jewish intellectual history in Provence in the Middle Age. The critical edition we propose here is the Hebrew translation of the Middle Commentary of Averroes on Aristotle’s Poetics, compared with the Arabic text and translated for the first time in French. A Comparative analysis of the oriental corpus of the Commentary enable us to grasp the intrinsic characteristics of the Hebrew translation of Todrosi and the particular context in which the translation was done. The thesis includes the study of the intellectual context in which Todros Todrosi worked, the study of the Hebrew version of the comment, and if his edition accompanied by analysis and paleographic codicological and Hebrew manuscripts.

Fondée sur la polysémie du terme latin uates, notre thèse se propose d’étudier les rapports entre poésie et prophétie dans la Pharsale de Lucain. Depuis l’Antiquité, le prophète est à la fois celui qui annonce l’avenir et celui qui parle au nom d’un tiers, souvent d’un dieu. D’abord, nous proposons une typologie des figures de prophètes dans la Pharsale en les comparant avec les prophètes de la tradition littéraire, en particulier issue de l’épopée et de la tragédie. Trois types de prophètes apparaissent chez Lucain : les prophètes omniscients, les prophètes utilisant une discipline divinatoire (astrologie, haruspicine, enthousiasme…) et les prophètes doués d’une inspiration infernale. Ensuite, la parole prophétique des personnages est comparée à celle, oraculaire, du narrateur épique. Nous proposons une étude des prolepses narratives de l’épopée en lien avec l’histoire de Rome, et en particulier avec l’histoire des guerres civiles. Ainsi, Lucain construit une vision cyclique de l’histoire. Après avoir défini la matière prophétique dans la parole du narrateur, nous analysons son style prophétique du point du vue narratologique et stylistique. Enfin, nous passons d’une poétique à une métapoétique de la prophétie chez Lucain. En effet, les personnages de prophètes constituent des mandataires du poète dont ils sont les porte-voix, au sens étymologique de prophète. Les prophètes lucaniens sont donc chargés de délivrer un Art poétique, conformément à la vision du monde de l’auteur. Cette dernière se traduit par une esthétique de la rupture qui s’applique au macrocosme céleste, au microcosme organique et à l’hexamètre épique. / Starting from the double meaning of the latin word uates, this study aims to define the links between poetry and prophecy in Lucan’s Pharsalia. Since Antiquity indeed, the prophet has been both a soothsayer and a person speaking for somebody else, especially for a god. First, we build a typology of the prophetic figures in the Pharsalia and we compare them with literary characters from epic and tragedy. Lucan conjures three kinds of prophets : omniscient ones, prophets who use divinatory technics (e.g. astrology, haruspicy, enthusiasm) and those whose inspiration comes from the Underworld. We then look at the prophetic speeches delivered by the characters against the oracular voice of the epic narrator. We study narrative prolepses of the epic that anticipate Roman history (especially the history of the Civil Wars), and through which Lucan offers a cyclical vision of history. After defining the prophetic matter of the narrative voice, we analyse Lucan’s prophetic manner from a narratological and a stylistic perspective. Lastly, we switch from a poetic definition of prophetic voices in the Pharsalia to a metapoetic study. The prophet characters indeed serve as surrogates of the poet and literally utter his voice, thus referring to the etymology of the word. The role of Lucan’s prophets is therefore to formulate an Ars poetica, in accordance with the poet’s Weltanschauung – a vision articulated by an aesthetics of disruption which encapsulates the celestial macrocosm, the organic microcosm and the epic hexameter.

Lors de la préparation de L’Évangile selon Matthieu (1964), Pier Paolo Pasolini indique dans une lettre au théologien Lucio Caruso qu’il ne souhaite pas adapter le texte biblique mais le « traduire fidèlement en images ». Adapter une œuvre littéraire pour le grand écran consiste généralement à en extraire un « contenu » à partir duquel un scénario sera développé. Or, c’est à l’œuvre matthéenne que le cinéaste souhaite nous ramener, non à l’histoire du Christ. Il va ainsi s’attacher à traduire la poésie du texte au moyen du cinéma. Le concept de traduction auquel Pasolini fait appel ne désigne-t-il pas un mode de relation aux œuvres dont pourraient relever d’autres films réalisés à partir de sources écrites ? C’est ce que cette thèse entend vérifier en rapprochant l’expérience de L’Évangile du travail entrepris par Danièle Huillet et Jean-Marie Straub à partir de plusieurs textes et de la relation entretenue par le cinéma de Béla Tarr aux écrits de László Krasznahorkai. À travers ces démarches apparaît la possibilité d’une altération formelle du film par le texte. Elles nous font passer du régime de la translation, qui sous-tend la majorité des théories de l’adaptation, à ceux de la reprise et de la métamorphose. Que ce concept de traduction puisse éclairer certains aspects de la pratique cinématographique, c’est ce que je chercherai simultanément à démontrer. La vision d’un film tient d’une énonciation continue où s’éprouve la langue. Aussi, envisager le cinéma comme un espace traductif, c’est y voir un lieu possible de redistribution des positions et de reconfiguration des énoncés. Cette poétique du traduire est une politique, qui engage une conception de la création artistique. / During the preparation of The Gospel According to Matthew (1964), Pier Pasolini stated in a letter to theologian Lucio Caruso that he did not want to adapt the biblical text, but wished to “translate [it] faithfully into images”. To adapt a literary work onto the big screen usually consists in extracting out of it a “content” from which a script can then be developed. But Pasolini’s intent was to take us back to the text of the gospel, not to the story of Christ – hence his endeavour to translate the text’s poetry by means of cinema. The concept of translation invoked by Pasolini denotes a certain mode of relationship to a given work. Could this mode pertain to other films derived from written sources? This is what will be investigated in this thesis, by bringing together the experience of The Gospel According to Matthew and two other approaches: on the one hand, the works by Danièle Huillet and Jean-Marie Straub based on various texts; on the other hand, the relationship between Béla Tarr’s cinema and László Krasznahorkai’s writings. Through these processes emerges the idea of a possible alteration of the film’s form by the text. From the rule of translation, which underlies most of the theories of adaptation, we move to the rule of reprise and metamorphosis. I will also try to demonstrate that this concept of traduction can shed light on some aspects of the practice of filmmaking. The viewing of a film is a continuous enunciation where the language is being experienced. Therefore, to consider cinema as a translative space is to perceive it as a place where positions can be dealt anew and utterances reshaped. This translative poetics is actually a politics, and one which affects our conception of artistic creation.

Dans une perspective toute à la fois poétique, rhétorique et juridique, ainsi que générique et intertextuelle, cette étude propose une réflexion sur la mémoire et la parole de l’héroïne ovidienne. Une lettre simple (Médée, Héroïde XII) et une lettre double (Acontius et Cydippe, Héroïdes XX-XXI) sont au cœur de notre recherche. Médée et Cydippe allient le souvenir de l’instant à la parole intime et nous invitent à illustrer la représentation de la femme qui surgit au sein de l’art poétique du pathos, puis à affirmer la légitimation de son statut juridique dans une vraisemblance historique, et à apercevoir, dans un dernier temps, son émancipation, conquise dans une diversité dialogique et tensionnelle des genres et des textes. Les interférences textuelles avec les modèles fondateurs sont bien répertoriées, dans le cadre d’une allusion propre à faire apparaître une réécriture métaphorique de la réflexivité, dans un entrecroisement des instants que favorise particulièrement la figure d’Ariane catullienne (Carmen LXIV). Menée dans cet esprit, l’étude de la réminiscence littéraire est effectuée dans un travail des mots et des notions, pour la recherche d’une véritable mimésis poétique. Cette lecture aboutit à dégager la valeur autoréflexive de l’image du texte : mémoire ingénieuse et parole polysémique participent à un jeu savant où la figure féminine et la poiésis composée sont, à vrai dire, inséparables. Là réside encore l’originalité ovidienne : entre le souvenir de l’écrit et le futur de la lecture se situe la parole mnémonique, défense et message ultime de la femme ovidienne, ainsi récompensée. / In a poetic, rhetorical and juridical perspective, as well as a generic and an intertextual one, this study proposes a reflexion on the ovidian heroine’s memory and speech. A single letter (Medea, Heroine XII) and a double letter (Acontius and Cydippe, Heroines XX-XXI) are at the heart of our research. Combining the memory of the instant with intimate speech, Medea and Cydippe extend an invitation to illustrate the representation of women that emerges from the poetic art of pathos, to affirm the legitimization of her juridical status in a historical plausibility, and to perceive, finally, her emancipation, gained in a dialogical and tensional diversity of genres and texts. The textual interferences with the founder models are well listed in the framework of an allusion that brings out a metaphorical rewriting of reflexivity, in an intersection of moments that particularly privileges the Catullian figure of Ariadne (Carmen LXIV). Carried out in this spirit, the study of literary reminiscence is completed in a work of words and notions for the research of a genuine poetic mimesis. This interpretation leads to highlight the autoreflexive value of the textual image: ingenious memory and polysemous speech participate in a learned play in which the feminine figure and the composed poiesis are, actually, inseparable. Therein can also be found Ovid’s originality: between the written memory and the future reading is set the mnemonic speech, defence and the ultimate message of the ovidian woman, thus rewarded.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-22T18:15:25Z No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T18:56:26Z (GMT) No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) / Made available in DSpace on 2016-01-25T18:56:26Z (GMT). No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) Previous issue date: 2014-05-16 / Este trabalho tem o objetivo de analisar as formas de criação artística engendradas pelo escritor Julio Cortázar a partir da noção de poética e de desaprendizado que ele retira da musicalidade do saxofonista Charlie Parker, um dos precursores do bebop surgido na virada para a década de 1940. Focando obras literárias e críticas selecionadas, produzidas pelo autor entre as décadas de 1940 e 1960, tentamos demonstrar como a transformação de Parker em personagem de Cortázar (Parker-em-Cortázar), no conto “O perseguidor” (1959), consolida um processo poético de acesso à realidade como fonte de criação artística, em constante tensão com o outro lado de nossa moeda: o processo racional e científico de produção de conhecimento. / This work aims at analyzing the forms of artistic creation engendered by writer Julio Cortázar from the notion of poetics and unlearning he derives from the musicality of saxophonist Charlie Parker, one of the pioneers of bebop, emerged at the turn of the 1940s. Focusing on selected literary and critical works produced by the author between the 1940s and 1960s, we try to demonstrate how the transformation of Parker in a Cortázar‘s character (Parker-in-Cortázar), in the short story "O perseguidor" (1959), consolidates a poetic access to reality process as a source of artistic creation, in constant tension with the other side of our same coin: the rational and scientific process of knowledge production.

Esta pesquisa contextualiza e analisa poéticas artísticas polêmicas e visionárias de alguns ciberartistas que vêm refletindo continuamente sobre o avanço da tecnologia nos campos da genética, robótica e telemática e de sua relação com o corpo e a consciência. Essas tecnologias são elementos fundamentais para a configuração de obras que questionam a própria condição biológica da espécie humana, vislumbrando uma possível relação de simbiose entre a tríade \"homem, máquina e biotecnologia\" que poderá resultar em uma nova espécie, pós-humana. Como produto poético, parte experimental desta tese - resultante da contextualização e análise -, o autor relata o desenvolvimento de um universo ficcional inspirado por essas obras e pelas reflexões de seus criadores, para o qual são apresentados múltiplos trabalhos artísticos em suporte papel e nas hipermídias. / This research contextualizes and analyzes the polemic and visionary artistic production of some cyberartists that have been constantly thinking over technological advances in the areas of genetics, robotics and telematics, and their relationship with the body and the conscience. These technologies are of central importance to the configuration of works that question the biological condition of the humankind and lay eyes on a possible symbiotic relation between man, machine and biotechnology, which might result in a new posthuman species. As outcome of the research the experimental part of this thesis the author narrates the development of a fictional universe inspired by those works and their creators\' considerations, and also presents several artistic works framed in paper and in hypermedia.

Made available in DSpace on 2016-07-18T17:54:24Z (GMT). No. of bitstreams: 1 BRIGIDA_Dissertacao_10_03_2015.pdf: 838949 bytes, checksum: a529a3050f893a42664244c9c7b14380 (MD5) Previous issue date: 2014-12-18 / The present research, linked to research online Educational Institution: Organization and Management, aims to investigate how the experience impacts the poetic teaching and how this contributes to the educational practices in the teaching of Art in contemporary society. Specifically, raises questions about the place of experience in the history of Art education in Brazil, to make sense of experience in the traditions of the philosophy of a esthetic education and training of the subjects, as well as to analyze how the experience contributes to the construction of the teaching poetic in art, which demands a watchful eye (emphasis added), a provision for the new one (re) designing steady himself. This is an exploratory, descriptive study, guided by qualitative analytical approach that best meets the objectives of the research, since such an approach requires the researcher to adopt a hermeneutic stance. In this sense, research is constant movement between the parts and the whole, in which there is no absolute point of departure or arrival. Thus, to outline concepts, explanations, justifications and analysis, the shelter takes in the literature of authors who deal with the issue, including Barbosa ( 2006, 2008, 2010 and 2011 2012), Ranciére (2002) Aguirre (2009), Pagni (2010), Larrosa (2014) and Masschelein (2008), among others. this work shows up issues that contribute to academic research on the teaching of art and the understanding of the locus of experience in education as a social and historical construction, dynamics in which the school is located.s not as poetic experience and reflect on teaching, especially when it comes to educational projects, without knowing their peculiarities / O presente trabalho, vinculado à linha de pesquisa Instituição Educacional: Organização e Gestão tem por objetivo investigar como a experiência impacta na poética docente e como esta contribui para as práticas educativas no ensino de Arte na contemporaneidade. Especificamente, busca problematizar o lugar da experiência na história do ensino de Arte no Brasil, compreender o sentido de experiência nas tradições da filosofia da Educação e na formação estética dos sujeitos, bem como analisar de que maneira a experiência contribui para a construção da poética docente em Arte, que pede um olhar atento, uma disposição para o novo, um (re) desenhar constante de si mesmo. Trata-se de um estudo exploratório, descritivo e analítico, pautado pela abordagem qualitativa, que melhor atende aos objetivos da pesquisa, pois tal abordagem requer do pesquisador a adoção de uma postura hermenêutica. Neste sentido, o movimento de investigação é constante entre as partes e o todo, em que não há um ponto absoluto de partida ou de chegada. Para elencar conceitos, explicações, justificativas e análises, o amparo se dá na pesquisa bibliográfica de autores que versam sobre a temática, dentre eles Barbosa (2006, 2008, 2010 e 2011 2012), Ranciére (2002), Aguirre (2009), Pagni (2010), Larrosa (2014) e Masschelein (2008), dentre outros. Com este trabalho, evidenciam-se questões que contribuem para a pesquisa acadêmica sobre o ensino de arte e para a compreensão do lócus da experiência neste ensino, como uma construção histórica, social e dinâmica, na qual a escola está inserida. Não há como refletir sobre experiência e poética docente, principalmente, em se tratando de projetos educacionais, sem conhecer as suas particularidades.

Made available in DSpace on 2016-07-18T17:54:24Z (GMT). No. of bitstreams: 1 BRIGIDA_Dissertacao_10_03_2015.pdf: 838949 bytes, checksum: a529a3050f893a42664244c9c7b14380 (MD5) Previous issue date: 2014-12-18 / The present research, linked to research online Educational Institution: Organization and Management, aims to investigate how the experience impacts the poetic teaching and how this contributes to the educational practices in the teaching of Art in contemporary society. Specifically, raises questions about the place of experience in the history of Art education in Brazil, to make sense of experience in the traditions of the philosophy of a esthetic education and training of the subjects, as well as to analyze how the experience contributes to the construction of the teaching poetic in art, which demands a watchful eye (emphasis added), a provision for the new one (re) designing steady himself. This is an exploratory, descriptive study, guided by qualitative analytical approach that best meets the objectives of the research, since such an approach requires the researcher to adopt a hermeneutic stance. In this sense, research is constant movement between the parts and the whole, in which there is no absolute point of departure or arrival. Thus, to outline concepts, explanations, justifications and analysis, the shelter takes in the literature of authors who deal with the issue, including Barbosa ( 2006, 2008, 2010 and 2011 2012), Ranciére (2002) Aguirre (2009), Pagni (2010), Larrosa (2014) and Masschelein (2008), among others. this work shows up issues that contribute to academic research on the teaching of art and the understanding of the locus of experience in education as a social and historical construction, dynamics in which the school is located.s not as poetic experience and reflect on teaching, especially when it comes to educational projects, without knowing their peculiarities. / O presente trabalho, vinculado à linha de pesquisa Instituição Educacional: Organização e Gestão tem por objetivo investigar como a experiência impacta na poética docente e como esta contribui para as práticas educativas no ensino de Arte na contemporaneidade. Especificamente, busca problematizar o lugar da experiência na história do ensino de Arte no Brasil, compreender o sentido de experiência nas tradições da filosofia da Educação e na formação estética dos sujeitos, bem como analisar de que maneira a experiência contribui para a construção da poética docente em Arte, que pede um olhar atento, uma disposição para o novo, um (re) desenhar constante de si mesmo. Trata-se de um estudo exploratório, descritivo e analítico, pautado pela abordagem qualitativa, que melhor atende aos objetivos da pesquisa, pois tal abordagem requer do pesquisador a adoção de uma postura hermenêutica. Neste sentido, o movimento de investigação é constante entre as partes e o todo, em que não há um ponto absoluto de partida ou de chegada. Para elencar conceitos, explicações, justificativas e análises, o amparo se dá na pesquisa bibliográfica de autores que versam sobre a temática, dentre eles Barbosa (2006, 2008, 2010 e 2011 2012), Ranciére (2002), Aguirre (2009), Pagni (2010), Larrosa (2014) e Masschelein (2008), dentre outros. Com este trabalho, evidenciam-se questões que contribuem para a pesquisa acadêmica sobre o ensino de arte e para a compreensão do lócus da experiência neste ensino, como uma construção histórica, social e dinâmica, na qual a escola está inserida. Não há como refletir sobre experiência e poética docente, principalmente, em se tratando de projetos educacionais, sem conhecer as suas particularidades.