Cette recherche porte sur les activités autodidaxiques soutenue par les TNIC. En s’inscrivantdans le domaine du sociocognitivisme, nous nous intéressons en particulier au cas des Assistants Boursier Syriens (ABS) souhaitant apprendre le français pour faire leurs études supérieures en France. En cernant les activités et les usages des artefacts numériques dans le processus d’apprentissage, nous nous appliquerons par une étude des actions, des pratiques et des discours produits par les acteurs impliqués (apprenants et enseignants) mais aussi des interfaces des produits concernés , à comprendre en quoi l’usage d’une telle méthodologie facilite l’autodidaxie des langues étrangères et particulièrement celle du FLE. Cette étude a pour objectifs de voir comment, à travers les interactions Homme-Ordinateur, s’illustrent les usages effectifs des artefacts numériques. Afin de mieux comprendre la façon dont les usagers appréhendent les artefacts consultés, nous décrivons, au recours à la scénarisation, comment ils gèrent leur environnement d’apprentissage et construisent les trajectoires individuelles. Nous nous attachons à observer et à analyser avec les outils de l’ethnographie de la communication (observation et entretiens) les usages effectifs, les pratiques ainsi que les activités produites par les différents acteurs impliqués. Cette démarche nous permet de réaliser un corpus complexe de réponses écrites au questionnaire de pré-enquête, d’enregistrements audiovisuels de situations réelles d’autodidaxie et audio d’entretiens. Ces données nous ont permis de déterminer les conditions de construction de l’environnement de travail ainsi que les facteurs influençant les trajectoires autodidaxiques. En s’inscrivant dans une approche socio -cognitive d’autodidaxie et centrée sur le scénario, nous proposons des solutions pour améliorer la conception et la mise en place d’un environnement numérique favorisant l’autodidaxie en contexte syrien de l’enseignement/apprentissage du FLE. / This research focuses on self-study activities supported by the Digital Information and Communication Technology (DICT). By considering the field of socio-cognitivism, we are interested in the case of Syrian assistant’s fellows wishing to learn French to continue their higher education in France. In order to identify the activities and the uses of the tools of French Foreign Language (FFL) from the Digital Information and Communication Technology (DICT) in the learning process, we will apply, using the study of actions , the practices and the discourses produced by the actors involved (learners and teachers) as well as the interfaces of the products concerned to understand how the use of such methodology facilitates self-learning of foreign languages and in particularly that of the ELF. This study aims to see how, through the human-computer interaction, is show the actual uses of the digital artifacts. To better understand how they apprehend the consulted digital artifacts and construct their individual trajectories, we describe, using the screenwriting, how the involved autodidacts manage their learning environment. We observe and analyze, with the tools of ethnography of communication (observation and interviews), the uses of artifacts available online or not, the practices and activities produced by the different actors involved. This approach allows us to realize a complex corpus including written responses to the pre-survey questionnaire, audio-video records of real situations of self-education and audio interviews. These data allowed us to determine the working environment of construction conditions and the factors which influencing self-study trajectories. By entering into a socio-cognitive approach to self-education and focused on the scenario, we proposesolutions to improve the design and the implementation of a digital environment which promotes selfeducation in the Syrian context of teaching / learning of FFL.

The aim of this study is to visualize the pre-school pedagogy in The Gambia and to discuss the Gambian pre-schools ideal view on pedagogy compared to the Swedish tradition. Through an ethnographically inspired study conducted at a Gambian preschool called SBEC bilingual international school, where I used Interviews and observations as a method to gather my empirical data, I sought answers to my overall questions which was: Which are the pre-schools main visions and values? What is the Gambian society´s view on pre-school education? And what is emphasized in the classroom work? In my results I found that the vision of the pre-school was designed to give something back to the Gambian society and have an impact on the country´s future. I also found that the schools vison had a large impact on the kind of work that went on in the classrooms. The view on the pre-schools in the society varied a bit depending on which perspective that was used. Those who were active in the world of education had a different view on the importance of pre-school education than for example the government in the country. In my discussion I compare my results in relation to the Swedish pre-school tradition and among other things I found that the two countries traditions regarding pre-schools had a common factor in the focus on nurturing the children but differed quite a bit when it came to their view on the pedagogic activities and how they were implemented. / Syftet med den här studien är att visualisera förskolepedagogiken I en gambisk förskola och diskutera den förskolans ideala syn på pedagogik jämfört med med traditionen i svenska förskolor. Genom en etnografiskt inspirerad studie, genomförd på en gambisk förskola som heter SBEC bilingual school, sökte jag svar på mina övergipande frågor genom att använda intervjuer och observationer för att samla in mitt empiriska material. De övergripande frågorna var: Vilka är förskolans huvudsakliga mål och visioner? Vad har det gambiska samhället för syn på förskolleutbildning? Och vad fokuserar arbetet i klassrummet på? I mitt resultat framkom det att förskolans vision var utformad för att kunna ge något tillbaka till det gambiska samhället och kunna påverka landets framtid. Jag fann också att skolans vision hade stor inverkan på vilken sorts arbete som pågick i klassrummen. Samhällets syn på förskolan varierade beroende på vilket perspektiv som användes. De som var aktiva inom utbildningsväsendet hade en annorlunda syn på vikten av förskoleutbildning än till exempel staten i Gambia. I dikussionen jämför jag mitt resultat i relation till den svenska förskolans tradition. Jag fann bland annat att förskolans traditioner i båda länderna hade en gemensam faktor när det gäller uppfostran av barnen men en annorlunda syn på den pedagogiska verksamhet och hur den implementeras.

SammanfattningUppsatsen är en fördjupning av en C-uppsats i ämnet pedagogiskt drama. Syftet med uppsatsen är att ta reda på hur elever uppfattar ämnet samt att påvisa ämnets användbarhet i arbetet med värdegrunden i skolan.Uppsatsens frågeställningar är:- Vad uppfattar elever i åldrarna 11-14 att undervisningsämnet pedagogiskt drama är?- Hur uppfattar eleverna att lektionerna med pedagogiskt drama har varit?- Hur förhåller sig denna uppfattning till värdegrunden i skolan?Metoden för arbetet är reflexiva intervjuer med enskilda elever samt parintervjuer. Tillämpningen utgår från en hermenutisk fenomenografisk induktiv metod där fokus ligger på den mening ett fenomen har för en grupp.Vi utgår ifrån de centrala dramapedagogiska perspektiven och förstärker dessa med verksamhetsteorin. Under arbetets gång sker hos författarna en reflektionsprocess, vilken påverkar arbets-sättet och utfallet. Denna process beskrivs ingående i uppsatsen. Vi ställde frågor relaterade till det utvecklingsarbete som eleverna tidigare hade deltagit i. Vidare tillverkades en analysnyckel för att kunna göra elevernas utsagor till beskrivningskategorier. Detta utifrån texter som beskiver fenomenografi. Sedan letade vi efter kategorier med skilda sätt att erfara pedagogiskt drama. För att göra tolkningen mer reliabel analyserade vi materialet var för sig för att senare jämföra våra resultat. Slutligen nådde vi samförstånd i tolkningen. Vi hittade icke-betonade och betonade kategorier och urskiljde fem normerande beskrivningskategorier; roligt, lär sig, känslor, trygghet och samarbete. Vi jämför vår uppfattning av vad pedagogiskt drama har för mål med elevernas uppfattning av vad pedagogiskt drama är, genom de normerande beskrivningskategorierna. Något tillspetsat uttrycker eleverna att pedagogiskt drama hjälper dem att stå ut under resten av skol-arbetet. Resultatet visar också att den modell av vad pedagogiskt drama är som lyfts i början av uppsatsen; tanke och känsla/handling finns i elevernas svar som reflektion, lär sig om känslor, kreativitet respektive kul, trygghet och samarbete. En viktig aspekt för eleverna har varit att pedagogiskt drama har hjälpt dem att koncentrera sig på andra lektioner samt att de gett och fått energi under lektionerna. ”När man gör roliga lekar så får man liksom upp energi och då blir det liksom lättare sen”. (ie. 3).Den dramapedagogiska ansatsen märks i elevernas uppfattning av vad pedagogiskt drama är och den demokratiska fostransansatsen finns tydligt i deras svar. De nämner bl.a. att om man inte brukar vara utanför vet man inte hur det känns och sådana känslor har de prövat i pedagogiskt drama. Intervjuerna med eleverna visar också att eleverna själva är experter på sin socio-kulturella miljö och att de rollspel som de arbetar fram utifrån sina egna tankar och erfarenheter blir både meningsfulla och realistiska. Eleverna uppfattar att pedagogiskt drama ger dem stor möjlighet till delaktighet och att alla får komma till tals. De ger uttryck för att det fanns en respektfull stämning på lektionerna och att de fick växa med uppgifterna. Detta stämmer väl med värdegrunden och vi tolkar det som om eleverna genom pedagogiskt drama ser värdegrunden som ett naturligt tillstånd.Genom arbetsprocessen ifrågasattes invanda tankar och mönster, hos pedagogerna, och den egna arbetsvardagen blev synlig. Reflektion kommer, därför, i framtiden att vara ett mer synligt verktyg i det dramapedagogiska arbetet. / Authors:Syrene Hägelmark is, a selfemployed consultant, who work with pedagogic development and alteration projects. Birgitta Thim, a primary school teacher, at a community school with children ages six to twelve, uses pedagogic drama at school. Both authors have studied pedagogic drama at the 60-credit level att Malmö University.Titled:TO ENDURE BEING A PUPIL. Using pedagogic drama, when educating in fundamental values.Subject:Education Science, pedagogyBackground:An alteration project (C-level essay) involving 78 pupils, ages nine to twelve, at a compulsory school. Weekly pedagogic drama lessons, n four groups, the aim of which has been to enable pupils to play forum-theatre. Three och four groups achieved the goal.Purpose:To identify pupils pedception of pedagogic drama. The ambition is to prove that pedagogic drama is useful when educating children in democracy and fundamental values. There is also an aim to improve pedagogic drama's reputation at school.Problem:What is the idea of pedagogic drama according to pupils aged eleven to fourteen?How do pupils interpret the lessons in pedagogic drama?How is this connected to fundamental values?Methods:Phenomenography is used to understand the pupils' ideas about pedagogic drama and to make the process during interviews discernible to the reader.Result:The interviews were analyzed twice. Later the analyses were compared and five normative categories appeared. The pupils' perceptions of pedagogic drama are suggested by such terms as: having fun, learning, co-operation, safety and emotions. The connection to fundamental values appears in the pupils' discussions inte their co-operating and helping each othe and their being able to stand for their believe.Future:A stong democracy demands pupils thar are aware of the system. Pupils need instruments that will enable them to influence the future. For pedagogic drama to be an effecitve instument for education in democracy and fundamental values pupils must be aware of ghe purpose of pedagogic drama exercieses. Therefore more reflection in pedagogic drama i needed.

<p>Det övergripande syftet med min C-uppsats är att granska lärarens bedömning och perceptio-ner för elever i behov av särskilt stöd och vidare belysa vilka möjligheter och begränsningar de anser sig ha för att kunna ta hänsyn till elever i behov av särskilt stöd samt få en syn på de skolsituationer som barn och elever med dolda funktionshinder och i behov av särskilt stöd kan befinna sig i.</p><p>För att få svar på mina frågor har sex lärare inklusive en special lärare intervjuats och samti-digt diskuterades de psykologiska och biologiska faktorer kring barns och ungdomars utveck-ling. Den historiska återblicken ger oss en uppfattning på hur begreppet ”en skola för alla” har utvecklats inom loppet av tiden och vilka syn på barn i behov av särskilt stöd har pedagogerna idag. De centrala frågorna rörde sig om pedagogernas uppfattning om barn med koncentra-tionssvårigheter och deras syn på diagnostisering av barn med problem. En inkluderande inte-grering i jämförelse med segregering diskuterades också samt hur pedagogerna kan hjälpa dessa barn.</p><p>Eleverna i skolan är olika och deras olikheter måste mötas med omtanke. För att uppfylla de-ras behov krävs kunniga och kompetenta personal i skolan. Skolan måste ha en fungerande och tillfredställande elevvård för att kunna nå skolans mål. Skolornas neddragningar på grund av ekonomiska problem gör att barn med dolda funktionshinder misslyckas allt oftare i da-gens skola. Dessa orsakar att barn får ett dåligt självförtroende med upprepade misslyckande och försämrar deras problem.</p><p>Allmänt finns det en del olika faktorer som ligger bakom barn med koncentrations svårighe-ter. De biologisk och ärftliga faktorer samt tillväxtmiljön och deras samhällsställning kan ge-nerellt nämnas. Brist på tid, ekonomi och kunskap i skolorna är det en barriär för att kunna hjälpa barn med svårigheter.</p> / <p>The comprehensive purpose with this paper is to have a look at teacher’s assessment and per-ception of pupils with special educational needs. And further illustrate which possibilities and restrictions they believe to have, to take children with special educational needs into consid-eration and get a view of school situations who children with hidden functional disability and with special educations needs are at the present.</p><p>To get answer to my questions, six teachers inclusive a special teacher for pupils with im-paired disabilities have been interviewed and discussed the psychological and biological fac-tors around children’s development. The historical review gave us a perceptive on how defini-tion of “school for all” has been developed during the time and what is teacher’s opinion on children with special needs today. The central questions were concentrating on teachers un-derstanding of children with concentration difficulty and their opinion on diagnostic of chil-dren with problems. An “including integration” compared to segregating been discussed as well and finally discussed how teachers can help these children.</p><p>Pupils in school are not comparable and these differences must meets carefully. To meet chil-dren’s requirements schools have need of personnel’s competence and proficiency. Schools required having functioning and satisfactory pupil welfare to achieve the aim. Lowering of school resources due to economical problems do that child with hidden functional disability fails more often in schools these days. These effects cause that children get a horrific self-confidence and worsen their problems. Generally, there are different factors behind the con-centrations difficulty. The biological and hereditary factors as well as home environment and their class society can points out in general. Lacking of time, economy and knowledge stops teachers to helping children in school.</p>

This essay reflects upon a group process where the goal was to use an art exhibition as a source of inspiration. The purpose of introducing art through an Exihibition was to generate associations that lead to subjects for dialogue and therefor developed a creative process amongst the group. We used the experience that came out of the visit and phrased questions regarding electrical light sources to mediate to the children. The main questioning is regarding the transformation from conformity to a more experimental approach to children’s learning. My dilemma concerns me getting caught in between two different points of view and not always knowing to whom the dilemma should be addressed, towards the staff or the organisation. My investigation concerns the role of a supervisors communications skills in relation to aesthetics as a learning process. Secondly, I reflect upon pedagogic documentation and how it can be used in the preschool practice. Through the pedagogic documentation, I can reflect upon the children’s becoming in relationship to the spatial dimensions and their relationships towards each other. My purpose of outcome was to investigate creative thinking in relationship to a group process in the preschool practice and how one can go about to introduce art as a catalysator for a creative process.

The starting-point of the thesis was that teachers to a large extent teach on the basis of intuitive theories. This creates a tendency that a number of frequent conceptions, pedagogical and didactic theories, experiences of one's own school days etc. become parts of a more fragmentary structure of ideas, rather than a coherent theory of teaching. With the aim of creating a deeper understanding of questions related to teaching and learning, two dominating perspectives were described initial. By putting the intuitive ideas in relation to basic paradigmatic assumptions a picture was given of what the teacher has to know in order to thoroughly understand a certain perspective. In addition, examples of pedagogical theories were presented that can be referred to the perspective in question, which teachers can adopt to qualify their understanding. A critical discussion of the paradigmatic assumptions paved the way for a third perspective, where thoughts occurring in the other two were partly combined. Here a theoretical basis was also presented to explain why the use of mental tools of thinking, especially such that are linked to knowledge theory may lead the teacher to a more reflective way of dealing with questions of teaching and learning. The third perspective was illustrated, first with four examples of how teaching can be performed, and then also in the form of in-service training for teachers. In the empirical section and in the final conclusion the perspectives were illustrated, discussed and examined critically. On the basis of questionnaires answered by upper secondary school teachers, interviews and observations, assumed examples of intuitive theories were presented. The empirical material was also analysed from the same starting-points as the formulation of the perspectives. Ten teachers' systems of intuitive theories about teaching and learning could thus be constructed. Five of these were presented and a comparison with the perspectives was made. Some analyses, however, turned out to agree best with a further perspective, which had not been focused on in the thesis. It was also found that teachers' practice can be enriched by being confronted with scientific knowledge. The value of such knowledge was illustrated through the evaluation of an inservice programme for teachers.

Un ensemble territorial qui a perdu son statut d’État, divisé en quatre zones d’occupation : telle est l’Allemagne d’après 1945. La reconstitution d’un enseignement artistique rentre dans le cadre d’un renouveau général. On peut s’interroger sur son importance dans un contexte éthique, historique et idéologique très difficile. Mais il apparaît qu’il a amené un exceptionnel foisonnement culturel et artistique avec la réouverture de nombreuses institutions supérieures d’art. Certains artistes qui avaient perdu leur droit d’exercer sous le Troisième Reich, acceptent de venir y enseigner. La présente étude s’attache à ceux d’entre-eux qui ont les conceptions pédagogiques et les méthodes les plus innovantes dans onze institutions réparties dans les quatre zones puis en RFA et en RDA. Pour cela, la consultation des archives ainsi qu’une abondante bibliographie ont été complétées par des entretiens avec d’anciens étudiants devenus enseignants et/ou artistes. Ces derniers ont témoigné de l’importance de la relation maître-élève dans la transmission mais également du rôle déterminant de la liberté artistique dont ils ont bénéficié. Ainsi la majorité des artistes allemands, ayant une renommée internationale aujourd’hui, ont étudié dans une ou plusieurs Écoles supérieures d’art ou Académie d’art de la zone orientale ou occidentale d’occupation après 1945. Cette formation constitue un atout essentiel de leur réussite. / Germany after 1945 was a territorial unity that had lost its status as a State and which was divided into four zones of occupation. The program of reform of art education is part of the widespread political and cultural renewal that took place during the subsequent post-War years. The importance of these reforms is a question to consider, with respect to the difficult ethical, historical and ideological context that shaped them. To all appearances, the reopening of many artistic institutions gave birth to an exceptional period of cultural and artistic activity. Indeed, some artists who had lost their right to practice under the Third Reich agreed to come back and teach art at these newly reopened institutions. The present study will focus on those artist-educators who developed the most innovative pedagogical concepts and methods, for example Willi Baumeister (Art Academy in Stuttgart), Karl Otto Götz (Art Academy in Düsseldorf) and Georg Meistermann (Art Academy in Karlsruhe). In total, the group I wish to investigate taught in eleven higher education institutions across all the four occupation zones; their work continued later, in the post-War states, FRG and GDR. My research methodology includes bibliographic research, archival research, and interviews with former students, many of whom have become artist-educators themselves. My correspondents were the benefactors of an extraordinary kind of teacher-student relationship that stressed an attitude of freedom that contrasted strongly with the previous historical period of the mid-1930s to 1945. The vast majority of German artists who now have an international reputation — including Georg Baselitz, Otto Piene, Gerhard Richter, Günter Uecker — studied in one or several higher art schools or art academies in the occupied zones (East or West) after 1945. / Die Etablierung einer institutionellen künstlerischen Ausbildung ist Teil des deutschen Wiederaufbaus nach dem Ende des Zweiten Weltkrieges. Die Promotion zeigt diese Entwicklung auf, in der Arbeit untersucht wird die Bedeutung der künstlerischen Ausbildung in ihrem unterschiedlichen ethischen, historischen und ideologischen Kontext. Hinsichtlich der Untersuchung zur Künstlerausbildung in Deutschland nach dem Zweiten Weltkrieg muss die Aufteilung Deutschlands in zunächst vier Besatzungszonen und nach 1945 die Teilung Deutschlands in die Bundesrepublik und die Deutsche Demokratische Republik berücksichtigt werden. Viele der während des Dritten Reiches verfolgten und ins Exil geflüchteten Künstler und Kunstpädagogen, kehrten nach Kriegsende nach Deutschland zurück und erhielten einen Lehrauftrag an einer Kunsthochschule oder –akademie. Die vorliegende Arbeit untersucht innovative pädagogische Konzepte an elf ausgewählten Institutionen. Die Untersuchung basiert auf einer intensiven Literaturrecherche und stützt sich auf Interviews mit ehemaligen Kunststudenten, die später Künstler und/ oder Dozenten werden. Die Interviews zeigen, wie wichtig die Kommunikation zwischen Schüler und Lehrer war und welche Rolle die Idee der künstlerischen Freiheit in ihrer persönlichen Entwicklung gespielt hat. Nach 1945 wurden viele deutsche Künstler, die heute einen international annerkten Ruf genießen, an einer oder mehreren deutschen Kunsthochschulen bzw. Kunstakademien in der östlichen oder westlichen Besatzungszone ausgebildet: Georg Baselitz, Otto Piene, Gerhard Richter, Günter Uecker. Die Ausbildung hat einen wesentlichen Vorteil an ihrem Erfolg.

Syftet med denna studie är att få inblick i musikers syn på traditionens och genrens påverkan och betydelse för det egna musicerandet. Jag har under min studietid blivit intresserad av att ta reda på hur genrer påverkar musikers musicerande och vilken betydelse det har för musikens utförande. Studien utgår från ett sociokulturellt perspektiv, vilket innebär att musicerande ses som en social aktivitet, där kunskap finns i kommunikation och de redskap som har växt fram i samhället. Datamaterialet består av kvalitativa intervjuer med fyra aktiva musiker. Resultatet visar att distinktionen genrer emellan inte nödvändigtvis behöver vara särskilt stor. Litteraturen i bakgrunden visar emellertid det motsatta. I litteraturen framställs jazzmusiker som gehörsmusiker som inte behöver ta så stor hänsyn till notbilden medan klassiska musiker anammar den med perfektionism. I min studie visar det sig att jazz- och klassiska musiker är lika beroende av traditionen, men hur verk tolkas och bearbetas är individuellt beroende av situation. Det visar sig vidare i studien att begreppet musikalisk frihet har olika betydelse för jazzmusiker än vad det har för klassiska musiker, det är upp till var och en att definiera vilken betydelse den musikaliska friheten har gentemot genren. När informanterna definierar sin respektive genre, förklarar de klassiska musikerna att klassisk musik förvisso är notbunden och studeras inom strikta ramar, men därmed inte sagt att musikerna måste definieras av sin genre, inte nödvändigtvis. En klassik musiker anses också vara experimentell gehörsmusiker, skriva sin egen musik eller improvisera på flera olika sätt. / The purpose of this study is to get an insight into what kind of influence and meaning traditions and genres has on musicians. I have, during my period of study, developed an interest in finding out how genres and traditions affect musician´s musical performances. The study originates from a socio-cultural perspective, which means that playing music is considered as a social activity where a great deal of knowledge comes from communication with other people. The data consists of qualitative interviews with four musicians. The result shows that the distinction between genres is not necessarily great. The background literature however proves the opposite. In the literature, jazz musicians are described as having a good musical ear; they do not pay that close attention to the written note, whilst classical musicians do the opposite. My study shows that jazz musicians and classical musicians are both equally dependent upon tradition, but the way they interpret music is individual and depends upon the situation. Furthermore, the study shows that the term musical freedom has a different meaning for a jazz musician than it has for a classical musician, but it is still up to musicians to define it for themselves within his or her genre. When the interviewees were asked to define their genre, the classical musicians answered that classical music is supposed to be played strictly the way it appears on sheet music within a clear framework, but genre does not always automatically shape a musician nor how they think as individuals.  A classical musician can, according to the result, also experiment and with a good musical ear compose their own music and improvise in many different ways.

A pesquisa apresenta uma análise sobre as Políticas Públicas de Inclusão em Diadema, focalizadas nas pessoas com necessidades educacionais especiais, que estão incluídas nas escolas regulares. Para analisar as ações implantadas nas três Gestões estudadas, abrangendo o período de 1993 a 2004, a atuação dos professores especializados do Centro de Atenção à Inclusão Social foi relevante. Nos procedimentos metodológicos, optou-se pela pesquisa qualitativa, envolvendo a análise dos documentos oficiais e as entrevistas dos professores especializados, embasadas nos marcos teóricos da gestão democrática, da inclusão, da formação docente e do projeto político-pedagógico emancipador. Uma das hipóteses do trabalho era que a opção por uma escola inclusiva impõe desafios na superação da dicotomia entre a Educação Especial e Comum, não limitada à implantação de serviços de apoio, necessários, porém insuficientes. Diante das desigualdades sociais, ocultadas sob o discurso da igualdade e da diferença, a educação para todos revela-se de forma multifacetada. Abordar os avanços e os impasses na construção da escola de todos e para todos possibilitou rever o papel dos serviços de apoio especializado na construção dos parceiros necessários para atender à demanda dos alunos com NEE. Essa articulação efetivamente é sustentada na democratização da gestão, na ruptura das barreiras do trabalho coletivo, que precisa garantir a superação das práticas fragmentadas e descontextualizadas, resultantes do modelo clínico, historicamente presente na Educação Especial, mesmo numa cidade de vanguarda como Diadema. / The research shows an analysis about the Political Policies of Inclusion in Diadema, focused on the people with special educational needs who are included in the regular schools. In order to analyze the actions implemented in the three studied administrations, from 1993 to 2004, the action of specialized teachers from the Social Inclusion Attention Center was relevant. In the methodological procedures, the qualitative research was chosen and the official documents analysis and specialized teacher interviews were also taken into account. The research was based on theoretical basis of the democratic administration, the inclusion, the teaching staff training and the emancipative pedagogic political project. One of the hypotheses was that the option for an inclusive school imposes challenges in the overcome of the dichotomy between Special and Regular Education, not limited to the needed but insufficient support service implementation. As the social inequalities are hidden behind the speech of the equality and difference, the education for everybody appears in multifaceted ways. Approaching the improvements and impasses in the construction of a school of everybody and for everybody enabled to review the specialized support service role in the construction of the needed partnership to attend the special educational need student demand. This articulation is effectively sustained within the democratization of the administration, the break of barriers to the collective work that need to guarantee the overcoming of fragmented and discontextualized practices, consequence of a clinic model, historically presented in the Special Education, even in a vanguard city like Diadema.

O exercício da profissão docente requer uma sólida formação, não apenas nos conteúdos científicos da disciplina, mas também nos aspectos correspondentes a sua didática e ao encaminhamento dos diferentes saberes que caracterizam a docência no ensino superior. A formação científica e pedagógica dos professores universitários é um dos fatores básicos na qualidade da universidade, pesquisas apontam que a maioria dos professores possuem lacunas na formação pedagógica. A Universidade de São Paulo USP, lócus desta pesquisa, institui em 1999 o Programa de Aperfeiçoamento de Ensino (PAE) para aprimorar a formação do estudante stricto sensu por meio de duas etapas: Preparação Pedagógica e Estágio Supervisionado em Docência. Dessa maneira o objetivo desse estudo é investigar se o Programa de Aperfeiçoamento de Ensino (PAE) tem-se constituído em espaço formativo para a docência superior a partir da análise das etapas de Preparação Pedagógica e Estágio Supervisionado em Docência. Para tanto, a coleta de dados ocorreu em diferentes momentos. No primeiro momento foram levantados os dados nos Programa de Pós-graduação Stricto Sensu da Faculdade de Educação (humanas), na Escola Politécnica (exatas) e na Escola de Enfermagem (biológicas) do Campus São Paulo Capital, no período de 2001 a 2011. No segundo momento e a partir dos dados coletados, um questionário foi enviado aos pós-graduandos que participaram das duas Etapas do PAE nos Programas investigados. De natureza qualitativa, o procedimento metodológico adotado foi o Estudo de Caso Único Integrado, seguidas da análise documental e análise de conteúdo. As análises apontaram que grande parte dos pós-graduandos, participantes do Programa PAE reconhecem: a ausência da formação pedagógica do professor universitário nos programas de pós-graduação stricto sensu, e identificam contribuições do PAE para o exercício da docência em ambas as etapas (Preparação Pedagógica e Estágio Supervisionado em Docência) possibilitando o aprimoramento e aprofundamento profissional. Com relação à Etapa de Preparação Pedagógica os dados revelam que o conjunto de conferências é a atividade mais procurada pelos alunos, seguida das disciplinas e do núcleo de atividades. Embora mais procurada, percebem o conjunto de conferências como uma proposta pouco efetiva para a formação docente. Quanto à Etapa do Estágio Supervisionado em Docência, os participantes, destacam ser este o verdadeiro momento de formação pedagógica, por proporcionar a reflexão sobre os saberes do campo pedagógico de maneira sistemática, organizada, os aproximando da realidade da sala de aula na graduação. Por fim, a conclusão deste estudo revela que o PAE representa na Universidade de São Paulo, um espaço de formação para a docência, entretanto, não explora todo seu potencial formativo. Ressaltamos a necessidade de sanar as ações isoladas que fragmentam e fragilizam a formação pedagógica do pós-graduando e, ainda, destacamos a urgência da criação de políticas institucionais e diretrizes específicas que tratem dessa formação no Programa PAE e consequentemente nos programas de pós-graduação da Universidade de São Paulo. / The professor professional practice requires a solid education, not only in the scientific discipline content but also in the aspects corresponding to its didactic and in the leading of different knowledge which characterizes teaching in higher education. The scientific and pedagogic education of university professors is one of the ground factors in the quality of the university; researches show that the majority of the professors show gaps in their pedagogic education. The University of São Paulo USP, lócus of this research, established in 1999 the Improvement Teaching Program (ITP) to perfect strictosensustudents education in two stages: Pedagogic Preparation and Supervised Internship in Teaching. As a result, the aim of this study is to investigate whether the Improvement Teaching Program (ITP) has been an educational environment to higher education professors considering the analysis of different stages (Pedagogic Preparation and Supervised Internship in Teaching). In order to do that,data collection occurred in two different instances. In a first instance, data collection was made from 2001 to 2011 in Education College StrictoSensuPost-Graduation Program (Humanities), Polytechnic School (Exact science) and Nursing School (Biological science), São Paulo campus capital. In a second instance, a questionnaire was sent to the students who participated in ITP in the above mentioned teaching unities. Concerning qualitative nature, the adopted methodological procedure was Case Study followed by the documental and content analysis.Analysis show that the great part of post-graduating, taking part in ITP Program acknowledge the lack of pedagogic education of university professor in strictosensupost-graduation programs and identified contributions of ITP for higher education practice in both stages (Pedagogic Preparation and Supervised Internship in Teaching), allowing the professional deepening and improvement. Concerning the Pedagogic Preparation, data reveals that the conference group is the activity which interested students the most, followed by the disciplines and by the activity nucleus. Although it was the one that interested students the most, they realize the conference group as a fairly effective proposal to teaching education. Regarding to Supervised Internship in Teaching, the participants highlighted it as the actual moment of pedagogic education as it provides reflection on the pedagogic field knowledge in a systematic and organized way approaching them to the reality of a classroom in graduation. All in all, the conclusion of this study reveals that ITP represents at University of São Paulo a higher education environment, however, it does not explore its formative potential. It is worth pointing out the need to resolve isolated actions that fragment and undermine the post-graduation pedagogic education, and the urgency of the creation of institutional and specific policies which addresses to this education at ITP Program and consequently in post-graduation programs of University of São Paulo.