5.2 Resumé v anglickém jazyce Aesthetic Education in the concept of Bohumil Markalous. The object of this thesis is the work of Bohumil Markalous. This author dedicated his lifework to Aesthetic Education. His works on this topic have never been published together. They were published only in form of many articles and essays in newspapers, journals and magazines. This work is based on texts about Aesthetic Education written not only by Markalous, but also by other authors as we try to present their concepts as well. Among the most important authors we can name Otakar Hostinský, Josef Patočka and Otakar Zich. In the first part of our work we dedicate ourselves to the way Bohumil Markalous formed his opinions about the development of Aesthetic Education. The second part of our work focuses on the author`s concept of Aesthetic Education itself. In the third part of this work is we deal with the current state of education in relation to the development of Aesthetic Education. In addition to the topic of aesthetics, we deal with the term Eidiko, used by the author to refer to the cultivation of the senses, especially of sight.

Published Article / The central theme of this article is to investigate the potential advantages to school management and teacher training in South Africa of an aesthetic approach or arts-based staff development. It is argued that the field of education with its specific body of professional and scientific knowledge seems unable to offer satisfying solutions to pressing problems in post-apartheid South African schools. It is suggested that the arts should be explored for answers and solutions. The opinions and attitudes of school management teams from some of the poorest schools in the Free State Province of South Africa were analysed in order to gauge whether any positive change had occurred in their professional knowledge, confidence and self awareness after the said teams had been exposed to arts-based staff training and learning workshops. The positive change that was detected may be ascribable to the application of an aesthetic approach being followed during in-service workshops. Statistical analysis of the pre- and post-unit responses of 117 attendants of management training workshops indicated that there had indeed been some statistically significant improvements in their professional knowledge, in their confidence as managers and in their perception of themselves as educational artists. Most appear to have been quite prepared to see themselves as educational artists. The positive changes could provide some encouragement and a kind of quantitative basis for the advocates of aesthetic education.

The arts have the power to expand cognitive potential through the development of higher order thinking skills, the use of the imagination, forms of self-expression and pathways to self-knowledge. When teachers are educated to integrate the arts in their classrooms, the result is transformation of the learning environment. In this qualitative case study I examined teacher experience in the Higher Order Thinking (HOT) Schools Arts Integration (AI) Professional Development (PD) program. While my research was informed primarily from the perspectives of arts specialist teachers, classroom teachers, and teaching artists, it also includes the voices of other stakeholders in the HOT educational community including administrators, HOT program directors, and parents. I obtained data through questionnaires, interviews, and observations in which I documented teacher experience during various forms of HOT AI PD and their implementation in the classroom. Teachers reported professional growth and described how HOT AI PD had transformed their teaching practice. This was accomplished through experiential and ongoing PD that teachers found inspiring and relevant to their teaching. The various forms of PD included a weeklong residential summer institute with professional teaching artists and various presenters, weekend mini-institutes to reinforce the summer institute content and to share best practices, administrator PD, and various one-day events on different topics. The HOT Schools program is a supportive network providing help and guidance throughout the school year. Emergent themes were related to teacher benefits, student benefits, PD strategies, and how the HOT program builds community. Teachers expressed satisfaction with hands-on PD strategies focused on student-centered learning, with emphasis on process rather than product, encouraging deep learning through the arts. Participants’ narratives highlighted the effectiveness of PD strategies utilizing teachers as instructors for their peers, and collaborative residencies with professional teaching artists in the schools. Teachers enjoyed enhanced collegiality resulting from collaborative work when creating arts-integrated curricula, and arts specialists teachers appreciated the respect they received from classroom teachers who recognized the value of the arts as modes of inquiry. Teachers demonstrated enthusiasm for the program and expressed how they had experienced professional renewal and satisfaction in their teaching as a result of their participation in HOT AI PD.

Orientadores: Ana Angelica Medeiros Albano, Milton Jose de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-07T16:19:11Z (GMT). No. of bitstreams: 1 Nascimento_MariaJosedeOliveira_D.pdf: 20123123 bytes, checksum: f508452a56e95fdfd762df24914fa7ce (MD5) Previous issue date: 2006 / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Este trabalho surge da inquietação frente aos diálogos entre educação estética e design, observados por anos em experiências profissionais dentro de educativos de museus e centros culturais da cidade de São Paulo. Decorrente da vontade de analisar mais detidamente estes diálogos, a finalidade deste trabalho é de estuda-los por meio de uma análise histórica do design, com a qual o caso do educativo do sistema britânico de ensino, South Kensington, guarda importantes interlocuções, mesmo que em chave crítica de análise. A partir desta crítica, ampliam-se os estudos em direção à filosofia, permitindo a investigação destes diálogos sob a lente do conceito de \"emancipação\", de Jacques Rancière e, simultaneamente, sob as perspectivas teóricas de Bruno Latour, especificamente aquelas voltadas ao design. É do reexame da ideia de design e de educação estética que esta pesquisa parte para uma reflexão sobre como o modus operandi do primeiro, articulador por essência, impulsiona o segundo no sentido de possibilitar regimes emancipatórios, a partir da ideia de estética enquanto configuração de paisagens sensíveis de determinados sujeitos. Tendo em vista essa atualização das duas disciplinas, este trabalho pretende analisar a potência de trabalha-los sob uma perspectiva transdisciplinar, segundo a hipótese de que, para permitir a emancipação, faz-se necessário considerar tanto regimes constituídos por ímpetos de elaboração quanto os constituídos por paixões e afetos. / This work arose from the restlessness felt when facing the dialogues between aesthetic education and design, observed for years in professional experiences within museums and cultural centers educational programs in São Paulo. From the will to analyze more closely these dialogues derived the purpose of this work, to study them through a historical analysis of design, in which the case of the British educational system, South Kensington, holds important connections, even in a critical way. From this point, the studies extend toward philosophy, allowing us to investigate these dialogues under Jacques Rancière\'s concept of \"emancipation\" and, simultaneously, under Bruno Latour\'s theoretical perspectives, specifically those focused on design. It is from the reexamination of the ideas of design and aesthetic education that this research proposes a reflection about how design\'s modus operandi, an articulator by essence, boosts the aesthetic education in order to incorporate emancipatory schemes based on the definition of aesthetics as the sensitive landscape of certain individuals. Considering this update of both disciplines, this work aims to analyze the power of approaching them from a transdisciplinary perspective, according to the hypothesis that, to allow emancipation, it is necessary to consider both schemes, those consisting of the impetus of elaboration as those consisting of passions and affections.

[pt] Os conceitos de belo e sublime em Schiller, apoiados numa estética kantiana, conduziram a filosofia para uma possibilidade de educação estética do homem, responsável pela plena liberdade e realização da vontade humanas. Dentro desse panorama, disposto a traçar um caminho de representação na arte dessa liberdade humana, Schiller propõe o conceito de tragédia moderna. Sobre seus fundamentos e sobre o seu propósito de repensar a poética da tragédia se debruçará essa dissertação. Em que medida a tragédia schilleriana é, de fato, capaz de definir o trágico e libertar o homem? / [en] Johann Christoph Friedrich von Schiller s conceptions of the beautiful and the sublime - unquestionably influenced by Kantian Aesthetics - have conducted Philosophy to a possibility of aesthetic formation/education of individuals. This possibility has endowed them to attain complete autonomy in regards to their exercise of freedom and free will. It is within this context that Schiller, determined to represent this newfound notion of human autonomy in art, fosters his notion of modern tragedy. It is the purpose of this dissertation to study and scrutinize Schiller s groundings and intent to transform the notion of tragedy. The present investigation shall attempt to answer such questions as till what point is Schillerean tragedy indeed able to define the concept of -the tragic-, and render individuals free?

O foco de interesse deste trabalho reside no mapeamento e na investigação de procedimentos presentes na produção de William Forsythe que estimulam a reflexão sobre a prática cênica e o fenômeno da arte sob uma perspectiva transitiva e espacial. Mover, alterar perspectivas e sugerir o aparecimento de novos ângulos, pesos e intensidades é interferir nas dinâmicas que geram campos instalativos e paisagens frágeis nas quais a percepção está em constante movimento. Qualidades e características presentes nos trabalhos de Forsythe, sobretudo na série Objetos Coreográficos, serão apresentadas aqui como eixos orientadores de discussões que, ao problematizarem conceitos e fundamentos sobre movimento e espaço, lançam diferentes possibilidades de observação sob o fenômeno teatral. Os Objetos Coreográficos, ponto de partida e foco deste estudo, são propostas ou mecanismos de interação entre corpo e espaço, seja o corpo do artista ou do espectador, que incentivam reflexões sobre a arte como um extenso campo de investigação e produção de conhecimento. Ao promoverem impactos físicos, incursões espaciais e desvios de referenciais da percepção, os Objetos Coreográficos tencionam limites entre as artes cênicas, as artes visuais, a arquitetura, a dança e a filosofia ao mesmo tempo em que promovem a superação de padrões e conceitos instituídos e inauguram campos de conhecimento. / The focus of this work lies in mapping and researching the procedures in the production of William Forsythe which stimulate the reflection about the theatrical practice and the art phenomenon from a transitive and spatial perspective. Moving, changing perspectives and suggesting the emergence of new angles, weights and intensities is about interfering in the dynamics that generate \"instalatives\" fields, fragile landscapes in which the perception is constantly moving. Qualities and characteristics present in the works of Forsythe, especially in the Choreographic Objects series, will appear here as guiding axis of discussions, to problematize concepts and fundamentals of movement and space, throw different possibilities for observation under the theatrical phenomenon. The Choreographic Objects, starting point and focus of this study, are proposes or mechanisms of interaction between body and space, the body of the artist or the viewer, encouraging reflections on art as an extensive field of research and production of knowledge. Promoting physical impacts, spatial incursions and deviation of perception references, the Choreographic Objects discuss the boundaries between theatre, fine arts, architecture, dance and philosophy while promoting the overcoming of standards and instituted concepts and inaugurate fields of knowledge.

O foco de interesse deste trabalho reside no mapeamento e na investigação de procedimentos presentes na produção de William Forsythe que estimulam a reflexão sobre a prática cênica e o fenômeno da arte sob uma perspectiva transitiva e espacial. Mover, alterar perspectivas e sugerir o aparecimento de novos ângulos, pesos e intensidades é interferir nas dinâmicas que geram campos instalativos e paisagens frágeis nas quais a percepção está em constante movimento. Qualidades e características presentes nos trabalhos de Forsythe, sobretudo na série Objetos Coreográficos, serão apresentadas aqui como eixos orientadores de discussões que, ao problematizarem conceitos e fundamentos sobre movimento e espaço, lançam diferentes possibilidades de observação sob o fenômeno teatral. Os Objetos Coreográficos, ponto de partida e foco deste estudo, são propostas ou mecanismos de interação entre corpo e espaço, seja o corpo do artista ou do espectador, que incentivam reflexões sobre a arte como um extenso campo de investigação e produção de conhecimento. Ao promoverem impactos físicos, incursões espaciais e desvios de referenciais da percepção, os Objetos Coreográficos tencionam limites entre as artes cênicas, as artes visuais, a arquitetura, a dança e a filosofia ao mesmo tempo em que promovem a superação de padrões e conceitos instituídos e inauguram campos de conhecimento. / The focus of this work lies in mapping and researching the procedures in the production of William Forsythe which stimulate the reflection about the theatrical practice and the art phenomenon from a transitive and spatial perspective. Moving, changing perspectives and suggesting the emergence of new angles, weights and intensities is about interfering in the dynamics that generate \"instalatives\" fields, fragile landscapes in which the perception is constantly moving. Qualities and characteristics present in the works of Forsythe, especially in the Choreographic Objects series, will appear here as guiding axis of discussions, to problematize concepts and fundamentals of movement and space, throw different possibilities for observation under the theatrical phenomenon. The Choreographic Objects, starting point and focus of this study, are proposes or mechanisms of interaction between body and space, the body of the artist or the viewer, encouraging reflections on art as an extensive field of research and production of knowledge. Promoting physical impacts, spatial incursions and deviation of perception references, the Choreographic Objects discuss the boundaries between theatre, fine arts, architecture, dance and philosophy while promoting the overcoming of standards and instituted concepts and inaugurate fields of knowledge.

Submitted by Poliana Carvalho Almeida (polianacarvalhoalmeida@yahoo.com.br) on 2017-01-31T14:10:38Z No. of bitstreams: 1 Poliana Almeida Tese Versão Final.pdf: 932124 bytes, checksum: bfac1ea37d63c039e805d5f9fed345aa (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2017-02-17T18:55:51Z (GMT) No. of bitstreams: 1 Poliana Almeida Tese Versão Final.pdf: 932124 bytes, checksum: bfac1ea37d63c039e805d5f9fed345aa (MD5) / Made available in DSpace on 2017-02-17T18:55:51Z (GMT). No. of bitstreams: 1 Poliana Almeida Tese Versão Final.pdf: 932124 bytes, checksum: bfac1ea37d63c039e805d5f9fed345aa (MD5) / Esta pesquisa teve como objetivo investigar os processos de elaboração de justificativas de gosto musical. O referencial teórico inscreve-se no campo da Filosofia (Estética) e da Sociologia da Música, levando em conta a complexidade da difusão e recepção da música pós-Indústria Cultural e das relações entre corpo e experiência estético-musical. O problema abordado nasce de questionamentos sobre a validade do gosto musical das massas e, em especial de jovens não músicos. A questão de pesquisa é: como jovens estudantes elaboram suas justificativas de gosto e preferência musical? Serão analisadas (análise de conteúdo) justificativas de preferência de estudantes do Ensino Médio, coletadas em registros de atividades de apreciação musical realizadas em turmas do 1º ano do Ensino Médio, no período de 2007 a 2013, na disciplina Artes/Música. Este trabalho traz como dados de pesquisa a caracterização do repertório musical de preferência dos estudantes no ano de 2013, antecedido por dois quadros teóricos cujos eixos são a Estética e a Sociologia da Música, e uma cartografia das justificativas de gosto musical dos estudantes, fundamentada no pensamento de Deleuze e Guattari, procurando assim verificar a hipótese de que justificativas de preferências musicais, independente do tipo de música a que se referem, seguem estruturas de pensamento elaboradas a priori, ou a posteriori, por isso, tais justificativas se equivalem e se anulam não sendo capazes de comunicar a significação da experiência musical. Assim, o julgamento musical de um “leigo” é tão válido quanto o julgamento musical de um músico. / ABSTRACT This research project aims to investigate the elaboration process justification of musical taste. The theoretical framework falls within the field of Philosophy (Aesthetics) and Sociology of Music, taking into account the complexity of the music diffusion and reception post Cultural Industry and the relationship between body and aesthetic-musical experience. The problem discussed is born of questions about the validity of the musical tastes of the masses, especially young no musicians. The research question is: how young students prepare their justifications of taste and musical preference? Will be analyzed (content analysis) the high school students justifications preference collected in the registers of music appreciation classes held in the 1st year of high school in the period 2007-2013, in the discipline Arts / Music activities. This work brings as preliminary research data to characterize the repertoire of students' preference in 2013 preceded by two theoretical frameworks whose axes are the Aesthetics and Sociology of Music, thus seeking to verify the hypothesis that justification of musical preferences, independent the type of music to which they refer, follow structures of thought elaborate a priori (music history, music theory, etc.) or a posteriori (connection to feelings and sensory experiences), so such justifications are equal

Este trabalho surge da inquietação frente aos diálogos entre educação estética e design, observados por anos em experiências profissionais dentro de educativos de museus e centros culturais da cidade de São Paulo. Decorrente da vontade de analisar mais detidamente estes diálogos, a finalidade deste trabalho é de estuda-los por meio de uma análise histórica do design, com a qual o caso do educativo do sistema britânico de ensino, South Kensington, guarda importantes interlocuções, mesmo que em chave crítica de análise. A partir desta crítica, ampliam-se os estudos em direção à filosofia, permitindo a investigação destes diálogos sob a lente do conceito de \"emancipação\", de Jacques Rancière e, simultaneamente, sob as perspectivas teóricas de Bruno Latour, especificamente aquelas voltadas ao design. É do reexame da ideia de design e de educação estética que esta pesquisa parte para uma reflexão sobre como o modus operandi do primeiro, articulador por essência, impulsiona o segundo no sentido de possibilitar regimes emancipatórios, a partir da ideia de estética enquanto configuração de paisagens sensíveis de determinados sujeitos. Tendo em vista essa atualização das duas disciplinas, este trabalho pretende analisar a potência de trabalha-los sob uma perspectiva transdisciplinar, segundo a hipótese de que, para permitir a emancipação, faz-se necessário considerar tanto regimes constituídos por ímpetos de elaboração quanto os constituídos por paixões e afetos. / This work arose from the restlessness felt when facing the dialogues between aesthetic education and design, observed for years in professional experiences within museums and cultural centers educational programs in São Paulo. From the will to analyze more closely these dialogues derived the purpose of this work, to study them through a historical analysis of design, in which the case of the British educational system, South Kensington, holds important connections, even in a critical way. From this point, the studies extend toward philosophy, allowing us to investigate these dialogues under Jacques Rancière\'s concept of \"emancipation\" and, simultaneously, under Bruno Latour\'s theoretical perspectives, specifically those focused on design. It is from the reexamination of the ideas of design and aesthetic education that this research proposes a reflection about how design\'s modus operandi, an articulator by essence, boosts the aesthetic education in order to incorporate emancipatory schemes based on the definition of aesthetics as the sensitive landscape of certain individuals. Considering this update of both disciplines, this work aims to analyze the power of approaching them from a transdisciplinary perspective, according to the hypothesis that, to allow emancipation, it is necessary to consider both schemes, those consisting of the impetus of elaboration as those consisting of passions and affections.