Esta pesquisa partiu do princípio de que a fusão entre arte e vida é capaz de fortalecer e reinventar nossa relação estética com o mundo. O objeto de análise está vinculado à experiência do Projeto Vila Educação e Arte, realizado entre os anos de 2008 e 2010, na cidade de Paranaguá, no estado do Paraná. Foram investigadas as mudanças significativas nos processos de perceber e simbolizar, bem como no desenvolvimento da sociabilidade dos estudantes, a partir da experiência vivida ao longo do projeto. O objetivo central da pesquisa consistiu na análise da articulação entre a experiência poética e a fruição estética como dimensões educativas da arte. Encontramos nas abordagens fenomenológicas de Gaston Bachelard e Michel Maffesoli fundamentos para o aprofundamento das potencialidades das ações educativas em arte. Para ambos faz-se necessária uma nova epistemologia, que deve se revelar antipositivista, antiformalista e antirrealista, na qual o mundo ficcional, bem como o mundo vivido, possam ser incorporados como elementos fundamentais do processo humano de produção do conhecimento e da vida. Acreditamos que se quisermos de fato aproximar arte e vida, as situações de aprendizagem em arte devem primar pela diversidade das experiências espelhadas no lugar e nos sujeitos. Esse processo deve contribuir para valorizar a produção artística como uma dimensão viva da rede simbólica, que dá sentido às experiências e à existência humana. O reconhecimento e a valorização da diversidade no processo educativo possibilitam criar condições para que as singularidades possam brotar diante da pluralidade, expressa nas várias formas de compreender e dar significado ao mundo. / This research assumed that the fusion between art and life is able to strengthen and reinvent our aesthetic relationship with the world. The object of analysis is linked to the experience of Education and Art Village Project, conducted between 2008 and 2010 in the city of Paranagua, in Parana state. Significant changes were investigated in the processes of perceiving and symbolizing, as well as the development of social skills of students, from the experience throughout the project. The central objective of the research consisted in analyzing the relationship between the poetic experience and aesthetic enjoyment of art and educational dimensions. We found in the phenomenological approaches of Gaston Bachelard and Michel Maffesoli fundamentals for the deepening of the potential of educational actions in art. For both it is necessary a new epistemology, which should prove to be anti-positivist, antiformalista and antirrealista, in which the fictional world and the lived world, can be incorporated as key elements of the human process of knowledge production and life. We believe that if we are indeed approaching art and life, their learning experiences in art should strive for diversity of experiences mirrored in place and subjects. This process should help to enhance the artistic production as a living dimension symbolic network which gives meaning to human existence and experience. The recognition and appreciating of diversity in the educational process make it possible to create conditions for which the singularities can spring forth from the plurality expressed in various ways to understand and give meaning to the world.

Esta pesquisa partiu do princípio de que a fusão entre arte e vida é capaz de fortalecer e reinventar nossa relação estética com o mundo. O objeto de análise está vinculado à experiência do Projeto Vila Educação e Arte, realizado entre os anos de 2008 e 2010, na cidade de Paranaguá, no estado do Paraná. Foram investigadas as mudanças significativas nos processos de perceber e simbolizar, bem como no desenvolvimento da sociabilidade dos estudantes, a partir da experiência vivida ao longo do projeto. O objetivo central da pesquisa consistiu na análise da articulação entre a experiência poética e a fruição estética como dimensões educativas da arte. Encontramos nas abordagens fenomenológicas de Gaston Bachelard e Michel Maffesoli fundamentos para o aprofundamento das potencialidades das ações educativas em arte. Para ambos faz-se necessária uma nova epistemologia, que deve se revelar antipositivista, antiformalista e antirrealista, na qual o mundo ficcional, bem como o mundo vivido, possam ser incorporados como elementos fundamentais do processo humano de produção do conhecimento e da vida. Acreditamos que se quisermos de fato aproximar arte e vida, as situações de aprendizagem em arte devem primar pela diversidade das experiências espelhadas no lugar e nos sujeitos. Esse processo deve contribuir para valorizar a produção artística como uma dimensão viva da rede simbólica, que dá sentido às experiências e à existência humana. O reconhecimento e a valorização da diversidade no processo educativo possibilitam criar condições para que as singularidades possam brotar diante da pluralidade, expressa nas várias formas de compreender e dar significado ao mundo. / This research assumed that the fusion between art and life is able to strengthen and reinvent our aesthetic relationship with the world. The object of analysis is linked to the experience of Education and Art Village Project, conducted between 2008 and 2010 in the city of Paranagua, in Parana state. Significant changes were investigated in the processes of perceiving and symbolizing, as well as the development of social skills of students, from the experience throughout the project. The central objective of the research consisted in analyzing the relationship between the poetic experience and aesthetic enjoyment of art and educational dimensions. We found in the phenomenological approaches of Gaston Bachelard and Michel Maffesoli fundamentals for the deepening of the potential of educational actions in art. For both it is necessary a new epistemology, which should prove to be anti-positivist, antiformalista and antirrealista, in which the fictional world and the lived world, can be incorporated as key elements of the human process of knowledge production and life. We believe that if we are indeed approaching art and life, their learning experiences in art should strive for diversity of experiences mirrored in place and subjects. This process should help to enhance the artistic production as a living dimension symbolic network which gives meaning to human existence and experience. The recognition and appreciating of diversity in the educational process make it possible to create conditions for which the singularities can spring forth from the plurality expressed in various ways to understand and give meaning to the world.

Est-il encore possible de vivre et d’habiter l’espace aménagé et construit en particulier, quant à considérer le déluge technoscientifique et industriel qui détermine et influence le domaine de l’architecture moderne ? Le rationalisme et le fonctionnalisme d’une certaine tendance de l’architecture moderne en intégrant les progrès technoscientifiques et industriels dans le monde de la maison, semble condamner l’expérience d’habiter à une crise irréversible. L’activité architecturale se voulant conforme aux progrès scientifiques et techno-industriels, elle impose à l’expérience pratique de la maison et préscientifique des lieux de vie, des normes de vie découlant de la seule raison. C’est en général une architecture et un urbanisme modernes abstraits et fonctionnalistes qui se développent en suivant la voie de l’objectivité rationnelle ouverte par Galilée et Descartes, ils maîtrisent, administrent et esthétisent le tout du monde ainsi que toutes les expériences humaines à l’espace en les dépouillant des considérations poétiques, mythologiques et affectives. Ainsi, la construction des institutions humaines d’habitation devient dans l’identification de la crise d’habiter, un « processus technologique prosaïque dérivant directement de la raison mathématique, d’un diagramme fonctionnel, ou d’une règle de combinaisons formelles » au désavantage de l’expérience concrète d’habiter. Mais si l’architecture n’a pas affaire qu’à elle-même, si elle n’est pas une pratique qui trouve sa fin en elle-même puisqu’elle s’ouvre vers l’autre, comment peut-on philosophiquement toujours espérer habiter authentiquement, originairement et poétiquement le monde et l’espace de la maison en particulier ? La philosophie, par l’approche phénoménologique et herméneutique à partir de Gaston Bachelard et Merleau-Ponty, présente pour l'expérience moderne d'habiter, des voies significatives originales qui permettent de répondre à la crise qu’elle connait. En renouvelant autrement que par la seule connaissance rationnelle les relations de l'homme à l'espace, elle se présente comme une voie remarquable de ré-compréhension, de relecture et de ré-enchantement de l’expérience originaire d’habiter le monde, la ville et l’espace de la maison. / Is it still possible to inhabitate and live the laid out and constructed space in particular, as for considering the techno and industrial flood that determines and influences the field of modern architecture? Rationalism and functionalism of a given trend of modern architecture by incorporating techno and industrial progress in the world of home, seems to condemn the experience of living in an irreversible crisis. The architectural activity wanting to meet scientific and techno-industrial progress, it requires practical experience in home and prescientific places of life, of living standards arising from the only reason. It is a general an architecture and a modern, abstract and functionalist urbanism that develop along the path of rational objectivity initiated by Galileo and Descartes, they control , manage and aestheticize the whole world and all human experience to space by stripping poetic , mythological and emotional considerations. Thus, the construction of human institutions housing becomes in identifying the crisis of living a «prosaic and technological process deriving directly from the mathematical reason, a functional diagram, or a rule of formal suits «in drawback of the concrete experience of living. But if the architecture does not matter to itself, if it is not a practice that is an end in itself because it opens to another, how can we still philosophically hope to authentically, originally and poetically live the world and the space of the house in particular? Philosophy, by phenomenological and hermeneutic approach inheritated from Gaston Bachelard and Merleau-Ponty presents to the modern experience of living, original significant ways that respond to the crisis it faces. Renewing differently more than the only purely rational knowledge the relations of man to the space, it presents itself as a remarkable way of re- understanding, rereading and re-enchantment of the original experience of inhabitating the world , the city and the space of the house.

Made available in DSpace on 2016-04-28T19:58:51Z (GMT). No. of bitstreams: 1 Mercia Maria da Silva Procopio.pdf: 533019 bytes, checksum: 32c2afc6c1b510b1e7b925b5018c39ce (MD5) Previous issue date: 2013-10-30 / Secretaria da Educação do Estado de São Paulo / The object of study in this dissertation is the poem "uma faca só lâmina" written by João Cabral de Melo Neto. It aims to get elements that compose the basis of the creation process in this poem, as well as analyze the role of images in the reality representation. The issue focuses on the discussion of a poetry which is built based on the refusal, in the poetic of negativeness based debugging and vacuum, which the view, hear and silence are part of the creation process of the poem. The theoretical and critical reasoning, which supports the work, is based on studies about the poetics of negativity, as, for instance, in the literary space Mallarmé, Maurice Blanchot (2011). The word and object representation supports in critical productions of João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). The poet's work presents a poetry laboriously architected. It is a poetry produced according to the calculation, in accuracy, specialy, in this poem, the accuracy of the cabralina poetic blade / O objeto de estudo desta dissertação é o poema Uma faca só lâmina , de João Cabral de Melo Neto. Tem como objetivos buscar elementos que compõem a base do processo de criação desse poema, assim como analisar o papel das imagens na apresentação da realidade. A problemática centra-se na discussão de uma poesia que se constrói fundamentada na recusa, na poética da negatividade, tendo como base a depuração e o esvaziamento, na qual o ver, o ouvir e o silenciar fazem parte do processo de criação do poema. A fundamentação teórico-crítica, na qual se apoia o trabalho, baseia-se em estudos acerca da poética da negatividade, como, por exemplo, em O espaço literário A experiência de Mallarmé, de Maurice Blanchot (2011). A representação palavra e objeto sustentam-se nas produções críticas, entre outras, de João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). O trabalho do poeta mostra uma poesia arquitetada laboriosamente. É uma poesia produzida no cálculo, na exatidão, em especial, nesse poema, na exatidão da lâmina poética cabralina

[pt] A teologia tem diante de si o desafio de falar de Jesus Cristo no mundo contemporâneo e a obra de Adélia Prado se apresenta como um raro momento da literatura brasileira em que vislumbramos uma expressão da experiência cristã. Os versos de Adélia Prado nos revelam uma experiência cristológica visceral, afetiva que traduz o ápice da mística cristã: a figura do amor esponsal e erótico, personificado nos amantes ou nos noivos. A mística é o fio condutor que costura literatura e teologia na obra de Adélia Prado. A poética adeliana expressa uma mística centrada no Mistério da Encarnação que valoriza as dimensões que afetam o corpo e o cotidiano, os desejos e sentimentos humanos. A teopoeta nos conduz a olhar a Deus pela beleza e pela glória, pela forma, pelo paradoxo, pelo mistério, pela palavra e pelo silêncio, pelo verso e pelo avesso. Seus textos poético-místicos comunicam uma experiência real e têm força de kerigma. Encontramos na obra adeliana uma cristologia teopoética que também se relaciona com a antropologia, com a estética e com a pneumatologia. Na dimensão antropológica, a teopoética articula uma concepção dinâmica do ser humano em uma perspectiva de crescimento e amadurecimento. Em relação à estética, a perspectiva de Adélia tem o foco direcionado à experiência cristã: Jesus é Poesia de Deus. A cristologia teopoética é construída no afeto pelo Espírito, advém de uma experiência poética – cristopatia – e de um seguimento – cristonomia. É a fala da experiência, uma comunicação da experiência. A poesia me salvará, pois ela guarda o paradoxo do mistério cristão – a beleza do crucificado. Silêncio e palavra, medo e desejo, luz e sombra. Poesia-oração que é discurso dirigido a Deus, processo, metanóia, liberdade e regeneração humanas. A obra poética adeliana é um canto, soprado e inspirado pelo Espírito Santo. / [en] Theology has got the challenge of speaking about Jesus Christ in the contemporary world. Adélia Prado s work presents itself as a rare moment in Brazilian literature in which we can glimpse an expression of the Christian experience. Prado s verses reveal to us a visceral and affective Christological experience that translates the peak of Christian mystique: the figure of engaged and erotic love, personified in lovers or the betrothed. Mystique is the guideline that knits together literature and theology in Adélia Prado s work. Adelian poetics expresses a mystique centered in the Mystery of Incarnation which values the dimensions of love, everyday life, human wishes and feelings. The theopoet leads us to looking to God through beauty, glory, figure, paradox and mystery, through words and silence, on the reverse and inside out. Her poetic-mystic texts communicate a real experience and have the power of a kerigma. We find in Adélia s work a theopoetic Christology, which also relates to anthropology, aesthetics and pneumatology. In the anthropologic dimension, the theopoetics articulates a dynamic conception of the human being from a growing and ripening perspective. As to the aesthetics, Adélia s perspective goes in the direction of the Christian experience: Jesus is God s poetry. Theopoetic Christology is built on the affection by the Spirit. It comes from a poetic experience – Christopathy – as well as from a following – Christonomy. It is the allocution of experience, a communication of experience. Poetry will save me, for it keeps the paradox of the Christian mystery: the beauty of the Crucified. Silence and words, fear and desire, light and shadow. Poetry-action that is a discourse guided by God, a process, a metanoia, human liberty and regeneration. Adélia s poetic work is a chant, blown and inspired by the Holy Spirit.

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Relier le premier livre de la Bible au dernier, la Genèse à l’Apocalypse, c’est suivre toutes les étapes du dessein divin, de ce qu’on appelle en mythocritique biblique un ur-mythos (création, chute, rédemption), la Bible, cet immense réservoir d’images, de récits et de mythes, ayant nourri, selon Northrop Frye, l’imagination de l’Occident comme une unité. Dans un premier temps, nous examinerons, au niveau structural, l’articulation de la Genèse et de l’Apocalypse en nous intéressant aux convergences et aux divergences des textes génésiaque et johannique afin d’interroger leur sens, leur contenu et leur nature, la Genèse annonçant l’Apocalypse et l’Apocalypse réécrivant la Genèse. Lors des lectures transversales des deux livres bibliques, nous verrons comment s’opère l’interaction entre le texte biblique et le texte poétique dans le but de mettre en évidence les conditions des différentes réécritures poétiques.Dans un deuxième temps, nous étudierons la rémanence de ces deux livres bibliques dans l’oeuvre poétique de trois poètes majeurs du XXe siècle et dont les affinités sont nombreuses : Pierre Jean Jouve, Pierre Emmanuel et Odysséas Elytis (Prix Nobel de littérature en 1979). Révéler les éléments significatifs, les mythes, les épisodes et les images de la Genèse et de l’Apocalypse dans leur poésie et amorcer une réflexion sur la manière dont ces poètes s’approprient et réactivent l’union étroite du début à la fin, de la création et du péché à la fin des temps et à la rédemption, c’est l’enjeu de ce travail. Comment et pour quelles raisons les poètes s’inspirent-t-ils de ces livres bibliques ? Comment et par quels moyens les poètes évoquent-ils l’expérience poétique ou même l’histoire à travers ces deux mythes d’origine biblique ? En guise de réponse, Mallarmé disait à René Ghil qu’« on ne peut se passer d’Éden ». En effet, nous ne saurons nous passer de notre Éden... ni de notre Apocalypse. / Connecting the Bible from Genesis to Revelation, is to follow the steps of the divine purposem so-called ur-mythos (creation, fall, redemption) in biblical mythocriticism, the Bible, this huge reservoir of images, stories and myths, having influenced, according to Northrop Frye, the Western imagination as a unity. As part of this work, we examine at a structural level, the linking of Genesis and Revelation by evaluating the convergences and divergences in the text to explore their meaning, content and nature. Genesis announces the coming of the Apocalypse and Revelation re-writes Genesis. Traverse reading of the Bible shows how the interaction takes place between the biblical text and the poetic text, thus highlight the different conditions of poetic rewritings.We will emphasize the convincing presence of these two biblical books, in the poetic works of Pierre Jean Jouve, Pierre Emmanuel and Odysseus Elytis (Nobel Prize in Literature in 1979), major poets of the twenthieth century whose affinities are many, by revealing the significant biblical elements, myths, images and episodes from Genesis and Revelation in their poetry, then investigate how theses poets appropriated and galvanize this unity from the beginning of the creation to the end of time, from the original sin to the redemption. The question is how and why are these poets inspired from these two books of the Bible? How and by what methods do these poets evoke the poetic experience or even the history through these two biblical myths? Mallarmé said to René Ghil that ’’one cannot get beyond Eden’’. After all, we cannot go beyond our Eden... and our Apocalypse.