Après l’invention de l’impression typographique à la Renaissance s’est progressivement imposé un régime de connaissance dans lequel les signes n’ont plus de rapport essentiel avec un monde reconstitué spatialement au moyen des mots sur la page. L’âge classique en général et le XVIIIe siècle en particulier ont souvent été caractérisés par le primat de la vue comme moyen de connaissance, aux dépens des autres sens. C’est du moins une des thèses de Michel Foucault dans Les Mots et les choses.Notre thèse tente de nuancer cette perspective en montrant comment, au sein de la culture écrite dominante, persistent de vestiges de la culture orale traditionnelle ; non pas dans les manifestations plus ou moins archaïques de la culture populaire (farces, fêtes, foires, contes bleus), mais dans ce qui pourrait sembler une manifestation de la modernité même des Lumières : les machines. Le XVIIIe siècle a été fertile en dispositifs visant à produire des sons ou des images, et à les enregistrer. Parmi ceux-ci, nous avons particulièrement retenu les inventions, réelles ou imaginaires, de Tiphaigne de La Roche (surveillance auditive et fixation des images), de Diderot (composition automatique et conservation des pièces musicales), de l’abbé Mical (reproduction de la voix humaine) et du père Castel (enregistrement visuel des sons). En étudiant tant le détail de ces dispositifs que le contexte idéologique qui les a vu naître, nous essayons de montrer comment les Lumières ont été ouvertes à des formes variées d’appréhension du monde. Aujourd’hui, le développement de nouveaux moyens de communication nous familiarise à nouveau avec des modes de représentation plus analogiques que l’écriture. Les tensions propres au régime médiatique du XVIIIe siècle nous donnent des indices pour réfléchir aux problèmes actuels de la connaissance. / After the invention of the printing press in the Renaissance, knowledge became progressively based on the use of signs with no essential relation with things, spatially reconstructed with words on the page. The classical age in general and the eighteenth century in particular have often been characterized by the primacy of sight as a means of knowledge, at the expense of other senses. Such is at least one of Michel Foucault’s arguments in the Order of Things.Our thesis strives to qualify this perspective and show how, within the domination of the written culture, remnants of the traditional oral culture survived. Not only in the archaic forms of popular entertainment such as fairs, farces and fairy tales, but in what might be considered as the epitome of modernity: machines. The eighteenth century was a hot bed of contraptions aiming to produce sounds and images and to record them. Among these, our attention has focused on the real or imaginary inventions of Tiphaigne de La Roche (audio monitoring and fixation of images) Diderot (automatic production and conservation of musical pieces), Abbé Mical (reproduction of the human voice) and Father Castel (visual transposition of sounds). The careful examination of such machines as well as the ideological context of their emergence, enables us to show how the Enlightenment was open to forms of comprehension of the world much more varied than is often stated.Today the development of new media has made us familiar again with modes of representation which are more analogical than words. The tensions proper to the media system of the eighteenth century provide us with instruments to think about our relation to the world around us.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-12-20T15:58:01Z No. of bitstreams: 1 Raquel Cardoso Frazão_.pdf: 1158204 bytes, checksum: 734ae9053e0c79c2a9b07952197db7a6 (MD5) / Made available in DSpace on 2018-12-20T15:58:01Z (GMT). No. of bitstreams: 1 Raquel Cardoso Frazão_.pdf: 1158204 bytes, checksum: 734ae9053e0c79c2a9b07952197db7a6 (MD5) Previous issue date: 2018-08-08 / IFMA - Instituto Federal de Educação, Ciência e Tecnologia do Maranhão / Essa pesquisa tematiza a produção de cartas pelas alunas do Programa Mulheres Mil, ofertado pelo Instituto Federal de Educação, Ciência e Tecnologia do Maranhão, nos anos de 2012 a 2013, na cidade maranhense de Açailândia. O tema da pesquisa insere-se no campo da História da Educação e ancora-se nos pressupostos da História Cultural. O objetivo geral do estudo é analisar as representações sobre o Programa e sobre os percursos de vida das alunas, a partir da produção de cartas na disciplina de Língua Portuguesa e na Oficina Mapa da Vida. As fontes de pesquisa foram 20 cartas escritas por alunas, sendo 10 na disciplina de Língua Portuguesa, ofertada à turma do ano de 2012, e 10 cartas escritas por alunas da turma de 2013, na oficina Mapa da Vida, ambas as atividades ministradas pela autora da pesquisa. Além das cartas, foram analisados os documentos produzidos pelo Governo Federal acerca do funcionamento do Programa. O Programa Mulheres Mil iniciou como projeto em 2007, resultado de um acordo bilateral entre o Brasil e o Canadá, a fim de qualificar mil mulheres das regiões Norte e Nordeste brasileira, pela vulnerabilidade social em que vivem uma parte delas. Em 2011, o projeto tornou-se Programa e consubstanciou-se em uma política pública de gênero. Nesse percurso chegou ao Maranhão e em Açailândia e sua implementação ocorreu no mesmo ano, com a oferta do Curso Básico de Qualificação Profissional em Alimentos. Em 2015, o Programa deixou de funcionar no respectivo Campus, por razões oficiais, as quais desconhecemos. Com a pesquisa, percebeu-se que as alunas participantes desse curso,segundo relato encontrado nas cartas, viam no Programa uma oportunidade para ingressarem no mercado de trabalho, montar seu negócio e voltar a estudar. No entanto, a proposta dessa política em garantir acesso ao trabalho e ao estudo não se mostrou suficiente para inserir a todas as mulheres participantes do curso no mercado de trabalho local. / This research thematizes the production of letters by the students of the Thousand Women Program, offered by the Federal Institute of Education, Science and Technology of Maranhão, in the years 2012 to 2013, in the Maranhão city of Açailândia. The theme of the research is in the area of History of Education and anchored in the assumptions of Cultural History. The general objective of the study is to analyze the representations about the Program and the life course of the students, from the production of letters in the discipline of Portuguese Language and in the Map of Life Workshop. The research sources were 20 letters written by students, 10 in the Portuguese Language course, offered to the class of the year of 2012 and 10 letters written by students of the class of 2013, in the workshop Map of Life, both activities taught by the author of the search. In addition to the letters, the documents produced by the Federal Government about the operation of the Program were analyzed. The Thousand Women Program started as a project in 2007, the result of a bilateral agreement between Brazil and Canada, in order to qualify a thousand women from the North and Northeast regions of Brazil, due to the social vulnerability of a part of them. In 2011, the project became a Program and consubstantiated in a gender public policy. In this course it arrived in Maranhão and in Açailândia and its implementation occurred in the same year, with the offer of the Basic Course of Professional Qualification in Food. In 2015, the Program ceased to function on its campus, for official reasons, which we do not know. With the research, it was noticed that the students participating in this course, according to the report found in the letters, saw in the Program an opportunity to enter the job market, set up their business and go back to study. However, the proposal of this policy to guarantee access to work and study was not enough to include all the women who participated in the course in the local labor market.

The Viking Age rune-carvers and their readers used runes as a semiotic resource to convey and structure the messages on rune-stones. An analysis of the ways in which this resource is used together with other resources gives us a deeper insight into the relationship between writers and readers and into the written culture in which the rune-stones were produced. The present study treats runic carvings as multimodal texts in which different semiotic modes produce meaning by visual and verbal means. The roles played by runes in such texts are studied from three different perspectives. The empirical study in chapter 3 investigates how the verbal messages of the inscriptions interrelate with ornamental compositions. The most important convention found is that runic inscriptions usually start in the lower left part of the ornamental band in which they are inscribed. A second result is that there is a certain correlation between the visual and syntactic structure of runic texts. In chapter 4, Södermanlandic inscriptions employing more than one writing system are investigated. These carvings can be tied to a context of high social ambition in which at least two different, socially stratified discourses are expressed by means of the runes as a visual semiotic mode. Chapter 5 is devoted to non-lexical inscriptions, showing that such carvings are indeed runic texts despite their lack of verbal message. Different types of readers can use runic resources in different ways. Firstly, runes carry meaning independent of any verbal message, giving them significance even to illiterate readers. Secondly, literate readers can appreciate certain conventions of runic composition and, thirdly, one and the same runic text can be part of different discourses and hence be aimed at different kinds of readers. / <p>Disputationen sker på norska och svenska</p>

This paper explores the contribution of Portuguese Jesuit António Francisco Cardim’s work entitled Elogios, e ramalhete de flores borrifadocom o sangue dos religiosos da Companhia de Iesu (Roma 1646/Lisboa 1650) to laying the textual and visual foundation for the Society of Jesus’ discourse on, and representations of, martyrdom in the 16th and 17th centuries. The paper discusses first the circumstances of the preparation and circulation (in manuscript and print) of the volume for propaganda and spiritual education purposes. Additionally, in the light of the contemporaneous production on Japan, the paper explores the images used in the printed editions of the Elogios, especially their roots, their relation to the narrations, and the way in which images and text reflected a perception of martyrdom well ingrained in the Jesuit discourse. / El presente trabajo estudia la contribución ibérica a la construcción del patrimonio textual y visual sobre el cual la Compañía de Jesús, durante los siglos XVI y XVII, elaboró sus discursos y representaciones en torno al martirio. En concreto, analiza la obra del jesuita portugués António Francisco Cardim titulada Elogios, e ramalhete de flores borrifado com o sangue dos religiosos da Companhia de Iesu (Roma, 1646/Lisboa, 1650). En primer lugar, toma en consideración algunos aspectos relativos a los contextos de elaboración y circulación (manuscrita e impresa) del volumen, teniendo en cuenta sus objetivos propagandísticos y edificantes. Tras situar el escrito de Cardim en el marco de la producción contemporánea sobre Japón, se considera asimismo la naturaleza de las imágenes que se incorporaron a las ediciones impresas de los Elogios, susmúltiples raíces, su relación con las narrativas que acompañaban y el modo en el que textos y grabados reflejaban una percepción sobre el martirio bien arraigadaen el discurso jesuita.

Ce travail est un regard socio-anthropologique sur les inscriptions administratives et les questions qu’elles soulèvent. Il analyse le cas spécifique de l’état civil de Côte d’Ivoire au regard du contexte socioculturel. Il dégage quelques particularités de l’état civil de Côte d’Ivoire à travers l’examen de l’articulation entre le système officiel et les réalités locales. Y a-t-il eu de la part de la Côte d’Ivoire, au moment d’adopter en tant qu’Etat indépendant son propre système d’état civil, un effort de prise en compte de son contexte socioculturel local ? Les modèles et représentations que véhicule le système mis en place à l’indépendance ont-ils un minimum de cohérence avec ceux en cours dans les sociétés ivoiriennes ? Pris entre les impératifs de l’appareillage officiel d’écriture qu’est l’état civil d’une part et le contexte socioculturel d’autre part, comment les acteurs et plus spécialement les usagers se comportent-ils ? Quels types de représentations et pratiques déploient-ils ? Telles sont les interrogations auxquelles tentent de répondre cette recherche. Contrairement à ce à quoi on pouvait s’attendre, au lendemain de son accession à l’indépendance, la Côte d’Ivoire fait le choix d’un système d’état civil qui tient très peu compte du contexte local. Les analyses effectuées font apparaître un décalage entre les modèles (de famille, de mariage, d’identité) véhiculés par l’appareil d’inscription et ceux du contexte socioculturel. Alors que l’état civil promeut des modèles axés sur l’individu et la vérité de l’écrit, les pratiques et usages locaux font une large part au groupe et au non écrit. Cette inadéquation entre le système officiel et les réalités socioculturelles du milieu favorise, bien loin des attentes, un ensemble de représentations et pratiques ambiguës. / This essay is a socio-anthropological view on administrative inscriptions and the questions they give rise to. It is an analysis from the specific case of Côte d’Ivoire according to its socio-cultural context. It underlines a few particularities of the civil registry in Côte d’Ivoire through the examination of the articulation between the official system and local realities. Was there from the Côte d’Ivoire, at the time when the country adopted as an independent state its own civil registry system, an effort to consider its local socio-cultural context? Do the models and representations given and defended by the system that came into place at the independence, have a minimum of coherence with those that were already in place in the societies in Côte d’Ivoire? Caught between the imperatives of the official writing that civil registry represents on the one hand, and the sociocultural context on the other hand, how are people, especially users, reacting? What kind of representations do they use? What are their practices? Those are the questions this research is trying to answer to. Contrary to what could have been expected, the day after it gained its independence, the country of Côte d’Ivoire chose a system that did not really take into account the local context. The analyses show a difference between the models (of family, marriage and identity) given by the registration administration and those of the socio-cultural context. When the civil registry is promoting models built on the individual and the supremacy of the script, local customs and practices assign a considerable place to the group and are built on non-written elements. This discrepancy between the official system and the socio-cultural realities are supporting, far from the expectations, ambiguous representations and practices from the civil registry

Esta dissertação discute o fenômeno da autoria – compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault – e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz. / This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.

Estudo histórico que tem por objetivo localizar e analisar a produção escrita por mulheres sobre música, relacionada a diversos contextos educacionais no Brasil, durante as primeiras cinco décadas do século XX. Como fontes, foram consultadas as publicações inventariadas na pesquisa, documentos manuscritos de arquivos históricos, documentos oficiais, periódicos, iconografia e arquivos pessoais de professoras. O 1º capítulo é dedicado a uma visão de conjunto sobre a produção escrita por mulheres sobre música. O capítulo 2 analisa as primeiras décadas e estabelece uma discussão sobre as representações de música brasileira e europeia na educação musical. O capítulo 3 trata da música na escola formal e da participação de mulheres no canto orfeônico, considerando o processo de institucionalização e escolarização da música e o papel da publicação de hinários, cancioneiros e livros didáticos nesse processo. O capítulo 4 aborda a formação de professores e a pedagogia da escola nova, destacando os conflitos na historiografia e na prática do canto orfeônico. O capítulo 5 concentra-se na formação artística, tendo por foco o ensino especializado de música, a presença de mulheres na atividade artística e as representações sobre o feminino. São analisados três exemplos da produção escrita, como dispositivos de inscrição no campo musical. Nas considerações finais, discute-se a função da memória (individual e coletiva) e sua relação com as práticas e as representações encontradas sobre a professora de música (em suas múltiplas atuações). Entre as principais noções e conceitos utilizados estão: campo (principalmente campo artístico), habitus, doxa e capital cultural, de Pierre Bourdieu; práticas, representações e apropriação, de Roger Chartier, bem como sua discussão metodológica (sobre a história do livro e da leitura) e teórica (sobre cultura escrita); estratégias e táticas, de Michel de Certeau, assim como sua análise da operação historiográfica. O conceito de gênero, presente em diversos autores, permitiu tratar a produção escrita por mulheres como conjunto, de forma relacional. Para a história das mulheres, tivemos como principal referência Michelle Perrot. A produção acadêmica em história da educação, sobretudo a brasileira, auxiliou a definição e exploração do tema, assim como as pesquisas musicológicas recentes. Um dos resultados da pesquisa foi um inventário de livros publicados (46 autoras e 100 obras), com a identificação de editoras, instituições, temáticas e modalidades de ensino musical praticadas na primeira metade do século XX no Brasil. Como parte das conclusões, a produção escrita sobre música é vista como intrínseca à profissão docente, utilizada como estratégia de valorização profissional e pessoal. As práticas de leitura e escrita (textual e musical) foram adquiridas no ambiente escolar, no espaço social da família e nas instituições de formação artística. Constata-se uma diversidade de processos de publicação, entre eles: iniciativas particulares das autoras; projetos editoriais, inclusive os patrocinados por governos estaduais ou pelo federal; programas institucionais para provimento de material didático adaptado às exigências legais; requisito formal para o ingresso no magistério superior. / Historical study that aims to situate and analyze the written production of women about music, related to several educational contexts in Brazil, during the first five decades of the 20th century. The sources include the publications collected during this research, manuscript documents from historical archives, official documents, periodicals, iconography, and educators personal archives. The first chapter is devoted to an overview of the production about music written by women. Chapter 2 analyzes the first decades and establishes a discussion about the representations of Brazilian and European music in music education. Chapter 3 is about music in formal school and the participation of women in canto orfeônico (school choir singing), analyzing the process of institutionalization and schooling of music and the role of hymnal, songbook and didactic book publishing in the process. Chapter 4 focuses on teachers training and the escola nova (new school) pedagogy, emphasizing the conflicts in the historiography and in the practice of canto orfeônico (school choir singing). Chapter 5 concentrates on artistic training, with focus on specialized teaching, the presence of women in artistic activity and the representations about the feminine. Three examples of written production are analyzed, as devices of inscription in the musical field. In the final considerations, the function of memory (both individual and collective) is discussed, inasmuch as its relation to practices and representations of female music educators (in their multiple roles). The main notions and concepts used are: field (specially artistic field), habitus, doxa, and cultural capital by Pierre Bourdieu; practices, representations and appropriation by Roger Chartier, as well as his methodological discussion (on the history of the book and the history or reading) and theoretical (on written culture); strategies and tactics by Michel de Certeau, as well as his analysis of the historiographical operation. The concept of gender, employed by numerous authors, allowed for a discussion of womens written production as a whole, in a relational manner. For the history of women, our main reference was Michelle Perrot. Academic production on the history of education, mainly the Brazilian one, facilitated the definition and exploration of the subject, as well as recent musicological research. One of the results of this investigation was an inventory of published books (46 authors and 100 works), with the identification of publishers, educational institutions and of the themes and modalities of music teaching that were current at the first half of the 20th century in Brazil. As part of the conclusions, the written production about music is seen as intrinsic to the teaching profession, used as strategy of both professional and personal valorization. The practices of reading and writing (of text and music) were acquired in the school environment, in the social space of the family and in the artistic training institutions. Diverse processes of publishing are detectable, such as: individual initiative of the authors; editorial projects, including those sponsored by state or federal governments; institutional programs for the provision of didactic material adapted to legal obligations; formal requirements to start a university teaching career.

Submitted by Tamires Alice Jesus (tamiresalice18@gmail.com) on 2018-08-09T03:11:28Z No. of bitstreams: 1 DISSERTAÇÃO ALTERADA2.pdf: 6832789 bytes, checksum: 2ee1c3d70f0ca1f5847783eac6b1a0d1 (MD5) / Approved for entry into archive by Ana Miria Moreira (anamiriamoreira@hotmail.com) on 2018-08-14T13:54:40Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO ALTERADA2.pdf: 6832789 bytes, checksum: 2ee1c3d70f0ca1f5847783eac6b1a0d1 (MD5) / Made available in DSpace on 2018-08-14T13:54:40Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO ALTERADA2.pdf: 6832789 bytes, checksum: 2ee1c3d70f0ca1f5847783eac6b1a0d1 (MD5) / Capes / Este estudo se pauta em um levantamento de dados feito nas Correspondências recebidas sobre doação de livros às escolas públicas, documento manuscrito que compõe o acervo do Arquivo Público do Estado da Bahia, e contém os títulos dos manuais didáticos doados às escolas públicas da Bahia, entre os anos de 1837 e 1868. A coleção de Correspondências sobre doação de livros às escolas públicas do Arquivo Público do Estado da Bahia é bastante rica e diversa. A pesquisa além de possibilitar o acesso aos títulos dos manuais que circulavam nas escolas naquele momento histórico e que, consequentemente, concorriam para a aprendizagem e difusão da escrita, contribui para o enriquecimento dos estudos voltados para a compreensão da consolidação e desenvolvimento da instrução pública baiana nesse período. Objetiva-se, portanto, desvelar aspectos importantes do cenário da instrução pública baiana oitocentista, a partir da construção de uma narrativa que apresente a política de doação de livros às escolas públicas de acordo com as informações reveladas na Coleção de correspondências sobre doação. Para isso, são observados os princípios e procedimentos do paradigma indiciário, que é um método heurístico focado nos detalhes, nas pistas que são deixadas, nesse caso, no documento que á principal fonte de investigação. O referencial teórico é pautado na relação entre a História Cultural em diálogo com a História da Educação e a História da Cultura Escrita. Pode-se caracterizar a presente pesquisa como histórica, já que investiga uma mudança ocorrida na sociedade, ainda que visando à investigação de assuntos educacionais. / ABSTRACT This study is based on the collection of data from the Correspondências recebidas sobre doação de livros às escolas públicas, handwritten document which belongs to Arquivo Público do Estado da Bahia, containing the titles of didactic handbooks donated to the public schools of Bahia, between 1837 and 1868. The collection of correspondences about donation of books to the public schools of Arquivo Público do Estado da Bahia is very rich and varied. The research besides granting access to the titles of the manuals that circulated in schools at that historical period and that, consequently, concurred for the learning and spread of writing, contributes to the strengthening of the studies towards the comprehension of the consolidation and development of Bahia public instruction at that time. Therefore, the objective is to unveil important aspects of the scenario of Bahia public instruction of the nineteenth century, based on the construction of a narrative that shows the policy of book donation to the public schools according to the information gathered from the Collection of correspondences about donation. For this purpose, the principles and proceedings of the indiciary paradigm, heuristic method focusing the details, clues left, in this case, on the document which is the main source of the investigation are observed. The theoretical references are based on the relation between Cultural History in dialog with History of Education and History of Written Culture. It’s possible to characterize this research as historical, for it investigates a change in society, even if it aims to investigate education affairs.

Esta dissertação discute o fenômeno da autoria – compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault – e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz. / This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.

Estudo histórico que tem por objetivo localizar e analisar a produção escrita por mulheres sobre música, relacionada a diversos contextos educacionais no Brasil, durante as primeiras cinco décadas do século XX. Como fontes, foram consultadas as publicações inventariadas na pesquisa, documentos manuscritos de arquivos históricos, documentos oficiais, periódicos, iconografia e arquivos pessoais de professoras. O 1º capítulo é dedicado a uma visão de conjunto sobre a produção escrita por mulheres sobre música. O capítulo 2 analisa as primeiras décadas e estabelece uma discussão sobre as representações de música brasileira e europeia na educação musical. O capítulo 3 trata da música na escola formal e da participação de mulheres no canto orfeônico, considerando o processo de institucionalização e escolarização da música e o papel da publicação de hinários, cancioneiros e livros didáticos nesse processo. O capítulo 4 aborda a formação de professores e a pedagogia da escola nova, destacando os conflitos na historiografia e na prática do canto orfeônico. O capítulo 5 concentra-se na formação artística, tendo por foco o ensino especializado de música, a presença de mulheres na atividade artística e as representações sobre o feminino. São analisados três exemplos da produção escrita, como dispositivos de inscrição no campo musical. Nas considerações finais, discute-se a função da memória (individual e coletiva) e sua relação com as práticas e as representações encontradas sobre a professora de música (em suas múltiplas atuações). Entre as principais noções e conceitos utilizados estão: campo (principalmente campo artístico), habitus, doxa e capital cultural, de Pierre Bourdieu; práticas, representações e apropriação, de Roger Chartier, bem como sua discussão metodológica (sobre a história do livro e da leitura) e teórica (sobre cultura escrita); estratégias e táticas, de Michel de Certeau, assim como sua análise da operação historiográfica. O conceito de gênero, presente em diversos autores, permitiu tratar a produção escrita por mulheres como conjunto, de forma relacional. Para a história das mulheres, tivemos como principal referência Michelle Perrot. A produção acadêmica em história da educação, sobretudo a brasileira, auxiliou a definição e exploração do tema, assim como as pesquisas musicológicas recentes. Um dos resultados da pesquisa foi um inventário de livros publicados (46 autoras e 100 obras), com a identificação de editoras, instituições, temáticas e modalidades de ensino musical praticadas na primeira metade do século XX no Brasil. Como parte das conclusões, a produção escrita sobre música é vista como intrínseca à profissão docente, utilizada como estratégia de valorização profissional e pessoal. As práticas de leitura e escrita (textual e musical) foram adquiridas no ambiente escolar, no espaço social da família e nas instituições de formação artística. Constata-se uma diversidade de processos de publicação, entre eles: iniciativas particulares das autoras; projetos editoriais, inclusive os patrocinados por governos estaduais ou pelo federal; programas institucionais para provimento de material didático adaptado às exigências legais; requisito formal para o ingresso no magistério superior. / Historical study that aims to situate and analyze the written production of women about music, related to several educational contexts in Brazil, during the first five decades of the 20th century. The sources include the publications collected during this research, manuscript documents from historical archives, official documents, periodicals, iconography, and educators personal archives. The first chapter is devoted to an overview of the production about music written by women. Chapter 2 analyzes the first decades and establishes a discussion about the representations of Brazilian and European music in music education. Chapter 3 is about music in formal school and the participation of women in canto orfeônico (school choir singing), analyzing the process of institutionalization and schooling of music and the role of hymnal, songbook and didactic book publishing in the process. Chapter 4 focuses on teachers training and the escola nova (new school) pedagogy, emphasizing the conflicts in the historiography and in the practice of canto orfeônico (school choir singing). Chapter 5 concentrates on artistic training, with focus on specialized teaching, the presence of women in artistic activity and the representations about the feminine. Three examples of written production are analyzed, as devices of inscription in the musical field. In the final considerations, the function of memory (both individual and collective) is discussed, inasmuch as its relation to practices and representations of female music educators (in their multiple roles). The main notions and concepts used are: field (specially artistic field), habitus, doxa, and cultural capital by Pierre Bourdieu; practices, representations and appropriation by Roger Chartier, as well as his methodological discussion (on the history of the book and the history or reading) and theoretical (on written culture); strategies and tactics by Michel de Certeau, as well as his analysis of the historiographical operation. The concept of gender, employed by numerous authors, allowed for a discussion of womens written production as a whole, in a relational manner. For the history of women, our main reference was Michelle Perrot. Academic production on the history of education, mainly the Brazilian one, facilitated the definition and exploration of the subject, as well as recent musicological research. One of the results of this investigation was an inventory of published books (46 authors and 100 works), with the identification of publishers, educational institutions and of the themes and modalities of music teaching that were current at the first half of the 20th century in Brazil. As part of the conclusions, the written production about music is seen as intrinsic to the teaching profession, used as strategy of both professional and personal valorization. The practices of reading and writing (of text and music) were acquired in the school environment, in the social space of the family and in the artistic training institutions. Diverse processes of publishing are detectable, such as: individual initiative of the authors; editorial projects, including those sponsored by state or federal governments; institutional programs for the provision of didactic material adapted to legal obligations; formal requirements to start a university teaching career.