Made available in DSpace on 2016-04-04T18:28:22Z (GMT). No. of bitstreams: 1 Maura Assad Pimenta Neves.pdf: 1610297 bytes, checksum: 8cb937016fca11ae2a28aca7f9d03795 (MD5) Previous issue date: 2015-12-16 / Pontif?cia Universidade Cat?lica de Campinas / This study is integrated to the actions of the research group Constitution Processes of the Subject in Educational Practices (Processos de Constitui??o do Sujeito em Pr?ticas Educativas) PROSPED, which is inserted on the research line of Psychological Intervention and Prevention, the Postgraduate Stricto Sensu in Psychology Program at the Pontifical Catholic University of Campinas. This study aims to analyze how music intervention, focusing in affection and students? expressions, promotes changes on the relation to Special Classes. These Special Classes are designed for students who have not achieved the minimum score in regular school tests. Therefore it was assumed as the theoretical-methodological perspective the Historical-Cultural Psychology, especially Vigotski?s concepts, its main representative. The subjects of this research were students from two Special Classes in Elementary School. A partnership with three teachers and one pedagogical coordinator was established. The research-intervention scenario was a public state school located on the southeast of Campinas, S?o Paulo, Brazil. The procedures for data collection were: school?s observation, conversations with teachers and the management team, classroom?s observation, activities using materiality mediators like songs, videos, and movies, and also, dialogs with students and feedbacks written by them at the end of the meetings, students? compositions, scenarios creation, CD?s recording, and semi-structured interviews with teachers. The research results showed that music presents itself as a powerful materiality in the transformation of emotions and feelings, setting senses and meanings, and configuring itself as a work tool for educational psychologists and educators who intend to affect students not only to promote their expression, interest, and involvement on the schooled content, but also to stimulate the development for the appropriation of new curricular contents. It was also noticed that studies developed in partnership with educators, involving music and general art, promoted the creation of a new environment in and for the school, which supports the expansion of how people relate. Lastly, the interventions from this study enabled Special Classes? students and educators to modify their concepts about these classes; they expanded their look to the student?s potential who attended to it. / O presente estudo est? integrado ?s a??es do grupo de Pesquisa Processos de Constitui??o do Sujeito em Pr?ticas Educativas PROSPED, que se insere na linha de pesquisa Preven??o e Interven??o Psicol?gica, do programa de P?s-gradua??o Stricto Sensu em Psicologia, da Pontif?cia Universidade Cat?lica de Campinas. Tem como objetivo analisar de que modo a interven??o com m?sica com foco nos afetos e na express?o dos alunos promove a mudan?a da sua rela??o com a classe de recupera??o. Para tanto, adotamos como aporte te?rico-metodol?gico a Psicologia Hist?rico-Cultural, sobretudo os conceitos de Vigotski, seu principal representante. Tomaram-se como sujeitos alunos de duas classes de recupera??o intensiva, do Ensino Fundamental II. Estabeleceu-se parceria com a coordenadora pedag?gica e tr?s professoras. O cen?rio da pesquisa-interven??o foi uma escola p?blica da rede estadual da regi?o sudoeste de Campinas/SP. Os procedimentos de constru??o de informa??es utilizados foram: observa??es da/na escola; conversas com as professoras e com a equipe gestora; observa??es nas salas de aula; atividades com materialidades mediadoras como m?sicas, v?deos e filme; di?logos entre e com os alunos; devolutivas escritas por eles ao final dos encontros; composi??es dos alunos; confec??o do cen?rio; confec??o de CD e entrevista semiestruturada com as professoras. A pesquisa possibilitou concluir que a m?sica se revela como uma materialidade potente na transforma??o de emo??es e sentimentos, configurando sentidos e significados, sendo, portanto, uma ferramenta para o trabalho do psic?logo escolar e para educadores que tenham como inten??o afetar os alunos de modo a promover sua express?o, o interesse e o envolvimento pelos conte?dos escolarizados e o consequente desenvolvimento para a apropria??o de novos conte?dos curriculares. Percebemos, ainda, que trabalhos envolvendo a m?sica e a arte em geral, quando realizados em parceria com educadores, promovem a cria??o de um novo espa?o na e para a escola, o qual favorece a amplia??o dos modos como seus atores se relacionam. Por fim, as interven??es possibilitaram que os alunos da classe de recupera??o bem como os educadores modificassem a concep??o que se tinha dessas classes, uma vez que o trabalho ampliou o olhar para as potencialidades dos alunos que a frequentam.

Made available in DSpace on 2016-04-29T13:31:52Z (GMT). No. of bitstreams: 1 Mariana Vaz de Camargo.pdf: 911494 bytes, checksum: 55039616da779610e905d48cee078923 (MD5) Previous issue date: 2008-05-13 / This research (The artistic act as catalysis: experiences in the body and dance) reflects upon the intensive dimension of the artistic act. It seems to me that art (the creative state) can catalyze and intensify potential for change, open up areas of movement and promote new connections and potential . The sensitivity promoted by this act should be different from that organizing our everyday experience; through this reorganization, transmutation or metamorphoses comes its political potential. Catalyze: a term borrowed from Chemistry imbued with a special meaning. Existential-poetic catalysis is how Guattari denominates the process of the search for paths to singular new existential territories, not serialized. To give shape to my reflections I interviewed the seven performers-creators of Cia. Nova Dança 4, a dance-theatre company from São Paulo. I was interested in grasping through the traces of the pulsating nature, the collective movements of the appropriation and invention of life which favour the production of singular existences. Why is art produced and consumed ? What ecstasy is this, that of poetry? I found two responses: the Russian psychologist Vygotsky s (art as a social technique of feelings that operates catharsis) and Deleuze and Guattari s (aesthetics in the relationship between forms and forces that can catalyze the invention of new existential territories). Because of the chosen theoretical framework it is not possible to talk about art without talking about the body and the need to return to it in that which is most singular: the porous body which is affected by encounters and partings in the world. Perhaps some experiences in contemporary dance can invent and construct bodies open to other forces and intensities Body without Organs. Elements that emerged during the construction of this framework led me to reflections of a more sociological nature: the institutional aspects of dance, formation of artistic groups and being an artist today . I also review the history of dance in the West and the principal elements of Contact Improvisation (in dialogue with Michel Foucault s reflections on power/body). Finally, I recover Vygotsky s conception of catharsis with a view to broadening the notion of catalysis. I understand that the discussion of the definition and use of these two terms, as well as their reorganization, can increase their power of creation-action (especially in the draw of the performing arts in question) / Nesta pesquisa, reflito sobre a dimensão intensiva do fazer artístico: pareceme que a arte (o estado criativo) pode catalisar e intensificar potências de mudança, abrir zonas de passagem e florescer novas conexões e potências . O sensível que ela produz deve ser diferente daquele que organiza nossa experiência cotidiana; dessa reorganização, transmutação ou metamorfose, sua potência política. Catalisar: termo emprestado da Química com um sentido especial. Catálise existencial-poética é como Guattari denomina o processo de busca por caminhos para novos territórios existências singulares, não serializados. Para dar forma às minhas reflexões, entrevisto os(as) sete intérpretes-criadores(as) de uma companhia de dança-teatro paulistana, a Cia. Nova Dança 4. Interessa-me apreender, através dos vestígios da natureza pulsativa, os movimentos coletivos de apropriação e invenção da vida que favoreçam a produção de existências singulares. Para quê se faz e se consome arte? Que êxtases são esse, os da poesia? Encontro dois caminhos de respostas: o do psicólogo russo Vygotsky (arte como técnica social do sentimento que opera a catarse) e o de Deleuze e Guattari (estética na relação entre formas e forças que pode catalisar a invenção de novos territórios existências). Pelo referencial teórico escolhido, não há como falar de arte sem falar de corpo. Pode-se falar na necessidade de se retomar o corpo naquilo que é mais próprio: corpo poroso, afetado pelos encontros e desencontros no mundo. Talvez algumas experiências da/na dança contemporânea possam inventar e construir corpos abertos a outras forças e intensidades Corpo sem Órgãos. Elementos que emergiram durante a construção dessa teia levaram-me a reflexões de cunho mais sociológico: aspectos institucionais da dança, da formação de grupos artísticos e do ser artista hoje . Também recupero a história da dança no Ocidente e os elementos constitutivos da dança Contato Improvisação (em diálogo com reflexões de Michel Foucault sobre poder/corpo). Para terminar, resgato a concepção de catarse , de Vygotsky, em busca de uma ampliação da noção de catálise. Entendo que a discussão da definição e uso desses dois termos, bem como sua reorganização, pode ampliar seu poder de criação-ação (em especial com o enredar nas artes cênicas em foco)

In this interdisciplinary study, narrative portraiture is used as a methodology to depict three visual artists who draw on their lived experience, traditions and values to engage viewers, through their artwork, about issues of landscape and identity. I argue for an educative paradigm applied to art practice that seeks individual and social/cultural transformation within and across communities through pedagogical processes that recognize diverse audiences. Questions guiding this study are: How do the artists' ideas and practices relate to living in British Columbia and the representation of the land? What are their motivations and strategies for expressing those ideas? How are the roles of these artists and the roles of teachers linked? The study considers the ways in which Jin-me Yoon, Lawrence Paul Yuxweluptun and Marian Penner Bancroft foreground landscape in British Columbia as a complex phenomenon and as a powerful icon in Canadian culture. Through interviews and analysis of artwork, this study examines how these artist/pedagogues challenge artistic conventions, myths and historical narratives that have framed Western culture and influenced their experience. By employing and disrupting conventions of representations of the land, they construct new narratives concerned with issues of identity, the environment, Native land claims, and urban history. This research portrait of artists who attempt to inscribe a place for themselves and their communities within the life of the province, is also a portrait of 'place', or the complex interrelationship of people and the environment. As role models and spokespersons who link knowledge and culture, the artists share a desire'to foster understanding through postmodern art practices and dialogic pedagogical processes. This study acknowledges their dual role as artist and teacher, involving models of practice that aim to effect social change and environmental care. It examines how their work integrating art and education, reflects and attempts to shape the social, cultural and political landscape within shifting conditions of society today. This study aims to provide a greater understanding of artist/pedagogues and calls for an increased focus on a pedagogical role for artists in museums, schools and other community-based sites, particularly with respect to multicultural and environmental art education.

This thesis contains an introduction to astrology and zodiac in theoretical part. It represent zodiac during the art history and discusses its symbolic meaning as a whole and its individual signs. Furthermore, affects the issue of language art forms in the psychology of art. The practical part of thesis is focused on objects realization, they result from combination of shape elements and importance of astrological signs. The outcome of this part of work is set of 12 ceramic objects.

This thesis investigates individual and interpersonal predictions of future affect and explores their relation to implicit theories of emotion, prediction recall, debiasing, and focalism. Studies 1, 2, and 3 assessed affect predictions to upcoming reasoning tests and academic results, and Studies 4, 5, and 6 concerned predictions for self-identified events. The first study investigated the influence of implicit theories of emotion (ITE; Tamir, John, Srivastava, & Gross, 2007) on impact bias and prediction recall manipulating ITE between participant pairs who predicted and reported their affective reactions to feedback on a test of reasoning skills. Neither impact bias nor recalled predictions were affected by the manipulation. Recalled affect predictions differed from original affect predictions, but were not influenced by experienced affect. Study 2 further investigated the effects of target event timing on impact bias and affect prediction recall. The results showed no differences between individual and interpersonal impact biases across conditions. Again, recalled predictions differed from original predictions, and were not influenced by experienced affect. Study 3 investigated the influence of prior information about impact bias on interpersonal affective forecasting involving real-world exam results. The results demonstrated no differences in predictions due to information, however, significantly less unhappiness was predicted for participants’ friends compared to self-predictions. Study 4 examined the effect of different de-biasing information on affective predictions. The results demonstrated no differences in affective predictions by condition and found that participants’ ITE were not associated to affect predictions. Study 5 examined individual and interpersonal affect predictions using a between-subjects design in place of the within-subjects design. The results demonstrated no differences between the affect predictions made for self and for friends, and ITE were not associated with predictions. Study 6 examined the impact bias in interpersonal affective forecasting and the role of focalism. The results demonstrated distinctions between individual and interpersonal affecting forecasting with individual impact bias for positive reactions for negative events and individual and interpersonal reverse impact bias for calm emotional reactions to positive events. Immune neglect was found not to be associated with predictions. Overall, the studies found evidence for similar individual and interpersonal predictions which are resistant to influence.

In this interdisciplinary study, narrative portraiture is used as a methodology to depict three visual artists who draw on their lived experience, traditions and values to engage viewers, through their artwork, about issues of landscape and identity. I argue for an educative paradigm applied to art practice that seeks individual and social/cultural transformation within and across communities through pedagogical processes that recognize diverse audiences. Questions guiding this study are: How do the artists' ideas and practices relate to living in British Columbia and the representation of the land? What are their motivations and strategies for expressing those ideas? How are the roles of these artists and the roles of teachers linked? The study considers the ways in which Jin-me Yoon, Lawrence Paul Yuxweluptun and Marian Penner Bancroft foreground landscape in British Columbia as a complex phenomenon and as a powerful icon in Canadian culture. Through interviews and analysis of artwork, this study examines how these artist/pedagogues challenge artistic conventions, myths and historical narratives that have framed Western culture and influenced their experience. By employing and disrupting conventions of representations of the land, they construct new narratives concerned with issues of identity, the environment, Native land claims, and urban history. This research portrait of artists who attempt to inscribe a place for themselves and their communities within the life of the province, is also a portrait of 'place', or the complex interrelationship of people and the environment. As role models and spokespersons who link knowledge and culture, the artists share a desire'to foster understanding through postmodern art practices and dialogic pedagogical processes. This study acknowledges their dual role as artist and teacher, involving models of practice that aim to effect social change and environmental care. It examines how their work integrating art and education, reflects and attempts to shape the social, cultural and political landscape within shifting conditions of society today. This study aims to provide a greater understanding of artist/pedagogues and calls for an increased focus on a pedagogical role for artists in museums, schools and other community-based sites, particularly with respect to multicultural and environmental art education. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

I investigate why gendered images of Hatshepsut influenced androgynous images of Nefertiti in New Kingdom Egypt and how Nefertiti and Akhenaten used their images in the promotion of their monotheistic religion; through a contextual, stylistic and feminist examination of the images. Hatshepsut cultivated images of herself to legitimize her rule in relation to canonical kings before her. Similarly, Nefertiti represented herself as a figure indiscernible from Akhenaten, creating an image of female co-rulership. Although the visual representations of both Hatshepsut and Nefertiti differ, the concepts behind each are analogous. They both manipulated androgyny to create images displaying powerful women equal in status to male Egyptian kings.

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:54:39Z (GMT). No. of bitstreams: 1 Amin_RaquelCarneiro_M.pdf: 92300981 bytes, checksum: e4b44687c03058d3351a26568c79047a (MD5) Previous issue date: 2009 / Resumo: Desde o século XIX até os nossos dias, houve crescente interesse por parte de psiquiatras, psicólogos e artistas plásticos em justapor a produção artística do louco e da criança. No Brasil o interesse remonta à década de 1920, com os estudos do psiquiatra Osório Cesar, baseados nas produções plásticas de pacientes do Hospital Juqueri e também com Ulisses Pernambucano, que em 1925 funda o Instituto de Psicologia do Recife. O presente estudo intencionou estudar o "Mês das Crianças e dos Loucos" - exposição organizada por Flávio de Carvalho e Osório César acompanhada por uma série de conferências, no ano de 1933, em São Paulo, no Clube dos Artistas Modernos (CAM) - do qual participaram artistas, médicos, intelectuais e educadores num momento de grande efervescência cultural modernista no país. O evento colocou em pauta os pontos comuns entre as produções plásticas da infância e dos doentes mentais. Discutiu prioritariamente o interesse que despontava entre alguns artistas plásticos e psiquiatras pela produção da criança, de um lado, e do louco, de outro, que este evento reuniu sob o mesmo teto. Este estudo se apoiou em metodologia documental para desenhar a estrutura do evento (como foi organizado o mês, quais coleções e obras foram expostas, e de que forma e quem dele participou) e seu impacto cultural. Interessou conhecer os argumentos que justificaram o evento, os princípios norteadores, o design da curadoria, a repercussão em jornais e periódicos do momento envolvidos e correlacionados à exposição. O estudo mostrou que este evento representou um marco em termos do encontro entre as áreas de arte, educação e psicologia e teve desdobramentos culturais significativos na cidade de São Paulo na década de 1930. / Abstract: The "Month of the Children and the Insane": reconstitution of the 1933 Paulista Exhibition From the nineteenth-century to the present day, there has been growing interest on the part of psychiatrists, psychologists and visual artists in bringing together the artistic production by the insane and by children. In Brazil, such interest emerges in the 1920s with publications by the psychiatrist Osório Cesar who studied visual arts productions of psychiatric patients from Hospital Juqueri, as well as Ulisses Pernambucano who founded the Instituto de Psicologia in Recife in 1925. This study aimed to investigate the "Month of the Children and the Insane" - an exhibition and series of conferences organized in 1933 by the artist Flávio de Carvalho and Osório Cesar in São Paulo at the Clube dos Artistas Modernos (CAM) - with the participation of artists, medical doctors, intellectuals and education professionals, at a time of great modernist upheaval in the country. The event illuminated common aspects of productions by children and people with mental illness. The discussion mainly circled around the emerging interest among some visual artists and psychiatrists in artwork by children on the one hand and by the insane on the other, which this event brought together under the same roof. This study used documentary methodology to design the structure of the event (how the month was organized, which collections and works were shown, and how they were presented, and who participated) and its cultural impact, We were interested in understanding the arguments that justified the event, the guiding principles, the curatorial design, the repercussions in current newspapers and in journals that were involved and related to the exhibition. The study showed that this event represented a breakthrough in terms of the coming together of the fields of visual arts, education and psychology, with significant cultural results for the city of São Paulo in the 1930s. / Mestrado / Artes Visuais / Mestre em Artes

The diploma thesis concerns my life project ZaBřehem and my activity in this project, which has the character of cooperation, organization, DIY, home design, web design, painting, crafts and over time also cultural organization and curation. The work goes through several components of the whole project and aims to defend the role of the artist in creating a new place that has the ambition to change the approach to people diagnosed with mental illness. At the same time, it focuses on the space specifically of one of the rooms, the layout of which the author considers her own work, as well as the method of transferring this space to the school premises for defense, which will create another site-specific installation.

No description available.