Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2018-05-18T16:03:14Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Raquel Casanova do santos Wrege_Dissertação.pdf: 6704173 bytes, checksum: 53193b6d49deb98687188198173f2350 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:53:39Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Raquel Casanova do santos Wrege_Dissertação.pdf: 6704173 bytes, checksum: 53193b6d49deb98687188198173f2350 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:53:46Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Raquel Casanova do santos Wrege_Dissertação.pdf: 6704173 bytes, checksum: 53193b6d49deb98687188198173f2350 (MD5) / Made available in DSpace on 2018-05-18T20:56:36Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Raquel Casanova do santos Wrege_Dissertação.pdf: 6704173 bytes, checksum: 53193b6d49deb98687188198173f2350 (MD5) Previous issue date: 2018-02-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação propõe um pensar sobre o processo de formação inicial docente em Artes Visuais, a partir do conceito de ação-reflexiva embasado no ato perceptivo do sujeito para o mundo ao seu redor. Compreende-se que durante a graduação, no Curso de Artes Visuais Licenciatura, é necessário que o futuro educador de Artes Visuais possa experienciar esteticamente os aspectos formativos. Desse modo, trata-se a experiência estética como meio de despertar uma postura mais ativa do discente para sua formação inicial. O estudo parte de abordagem qualitativa e se dá através de pesquisa-ação tendo como público-alvo discentes do Curso de Artes Visuais modalidade Licenciatura da UFPel. Fundamenta-se teoricamente no pensamento fenomenológico de Merleau-Ponty (1990, 1992, 1999), na concepção de profissional reflexivo de Schön (2000) e de prática reflexiva de Perrenoud (2002). / This dissertation proposes to think about the process of initial teacher training in Visual Arts, from the concept of action-reflexive based on the perceptive act of the subject to the world around him. It is understood that during the undergraduate, in th e Course of Visual Arts Degree, it is necessary that the future educator of Visual Arts can aesthetically experience the formative aspects. In this way, the aesthetic experience is treated as a means of awakening a more active posture of the student to his initial formation. The study is part of a qualitative approach and is given through the Research-Action-Participant having as target audience students of the Visual Arts Course UFPel's Licenciatura degree. It is theoretically based on Merleau-Ponty's phenomenological thinking (1990, 1992, 1999), on Schön's conception of reflexive professional (2000) and on reflexive practice by Perrenoud (2002).

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2017-01-30T14:31:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) MARTINS, Denise Aquino Alves.pdf: 3768267 bytes, checksum: 06b8e8ce29359691692a67a01a24f2a5 (MD5) / Approved for entry into archive by Simone Maisonave (simonemaisonave@hotmail.com) on 2017-02-07T11:55:19Z (GMT) No. of bitstreams: 2 MARTINS, Denise Aquino Alves.pdf: 3768267 bytes, checksum: 06b8e8ce29359691692a67a01a24f2a5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-22T18:19:22Z (GMT) No. of bitstreams: 2 MARTINS, Denise Aquino Alves.pdf: 3768267 bytes, checksum: 06b8e8ce29359691692a67a01a24f2a5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-22T18:19:30Z (GMT). No. of bitstreams: 2 MARTINS, Denise Aquino Alves.pdf: 3768267 bytes, checksum: 06b8e8ce29359691692a67a01a24f2a5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2014-11-04 / Sem bolsa / A escrita, composição desta tese, é feita de recortes/fragmentos de memórias na presença viva de uma experiência estética na formação docente constituindo um mosaico. Os laços e os nós de uma docência evidenciados quando da escrita da pesquisa de dissertação sobre uma docência no Sul do Brasil- se estendem para novas parcerias com diversos grupos discentes através das memórias do projeto ?Mobilizar-te?: acontecimento em arte e educação na UFT- encontros com artefazer-se docente (2008-2010), na docência do Ensino Superior no norte do país. O foco central desta tese procurou responder a seguinte questão: Quais experiências estéticas e memórias de (auto)formação são narradas por um grupo de estudantes do Curso de Pedagogia (UFT) participantes do projeto Mobilizar-te? Nos aportes teóricos de Benjamin, Larrosa, Contreras e Dewey encontro fundamentos para entender a categoria experiência para os sentidos de produção contrários à banalização e burocratização do aprendizado e anestesia de si, ao reverso, pensar protagonismos da própria ação do formar-se, como um fazer-docente prenhe de intenções políticas, éticas e estéticas. A categoria estética é discutida a partir de estudos de Welsch com interlocuções de Hermann, Duarte Júnior, Pereira, Farina, entre outros. A intencionalidade metodológica desta pesquisa aproximou-se de práticas qualitativas na educação com a intersecção com o método (auto) biográfico na potencialidade da memória como ferramenta de formação, ancorada nos autores: Abrahão, Nóvoa, Josso, Dominicé, Passegui, Delory-Momberger e Bolivar e Domingos. Como suportes de materialidades que constituíram as fontes de investigação desta pesquisa foram utilizados os seguintes elementos: entrevista com 8 acadêmicos egressos do Curso de Pedagogia; depoimentos escritos durante o período de 2008/2010, anotações avulsas em cadernos, relatórios de grupos, fotografias e imagens produzidas em folders, camisetas. Entre as temáticas mapeadas neste estudo evidencio a diversidade cultural e a política na Universidade, o professor como produtor de materialidades estéticas, para além da arte a festa, a (auto)formação na ação e intervenção e a formação do pedagogo com a infância: a experiência da arte no corpo. Na virada da esquina ao fim de um corredor, concluo que as disponibilidades nas relações de alteridade são destacadas como elementos da concentração acadêmica no fazer diverso das normas do ?eu devo?, bem como a compreensão de um fazer coletivo, de abertura de ambientes aquecidos, na interligação de fios de teias/redes de proteção para pensar futuros da profissão como produtora de si. O currículo como ato de formação e lugar da estética, é o fio condutor de uma tênue linha demarcatória de fronteiras, em que a reflexão percorre a necessidade de (des)vestir um corpo docente/discente. Nessa memória da experiência como suporte e avaliação de um fazer e desenvolvimento profissional, encontro inspiração e energias vitais de uma profissão balseira que permite um sentido de partida e expedições, nos desafios estéticos do presente: compartilhar a produção de sentidos na experiência de formação de si com o outro, refletir sobre a presença do não controle na prática docente e como a experiência toma dimensões submersas. / The writing, composition of this thesis, is made of clippings/fragments of memories in the living presence of an aesthetic experience in teacher training constitutes a mosaic. The links and nodes of a teaching evidenced when the writing of the dissertation research on teaching in southern Brazil-extend to new partnerships with various groups of students through the memories of the project ?Mobilizar-te: acontecimento em arte e educação na UFT- encontros com artefazer-se docente (2008-2010)? in the teaching of higher education in the North of the country. The central focus of this thesis sought to answer the following question: Which aesthetic experiences and memories of (self) formation are narrated by a group of students of Pedagogy (UFT) project participants to mobilize you? In theoretical Benjamin, Larrosa, Contreras and Dewey find grounds for understanding the category experience for the senses of production against the trivialization and bureaucratization of anesthesia and learning from you, backwards, thinking of the craving to own the action form, as a do-teaching full of political, ethical and aesthetic intentions. The aesthetic category is discussed from Welsch studies with Hermann interlocutions, Duarte Junior, Pereira, Farina, among others. The intent of this survey methodological approached qualitative in education practices with the Intersect method (auto) biography on potentiality of memory as a training tool, anchored in authors: Abrahão, Nóvoa, Josso, Dominicé, Passegui, Delory-Momberger and Bolivar and Domingos. As material elements characteristic brackets that were the sources of investigation of this research were used the following elements: interview with 8 academics graduates of the course of Pedagogy; depositions during the period 2008/2010, single notes in notebooks, group reports, photographs and images produced in folders, t-shirts. Among the topics mapped in this study evidencio the cultural diversity and politics at the University, the professor as a producer of material elements characteristic aesthetic, beyond the art party, the (self) formation in action and intervention and formation of the pedagogue with children: the experience of body art. At the turn the corner at the end of a hallway, I conclude that the availabilities in relations of alterity are highlighted as elements of academic concentration in making diverse standards "I must", as well as the understanding of a collective, heated environments, opening in the interconnection of webs/networks to think future protection profession as a producer himself. The curriculum training and act as place of aesthetics, is the leitmotif of a fine line demarcation of frontiers, in which the reflection traverses the need for (UN) dressing a faculty/students. In memory of the experience as a support and evaluation of a make and professional development, find inspiration and vital energies of a ferryman profession that allows a sense of departure and expeditions, in aesthetic challenges of the present: share the production of senses in si training experience with each other, reflect on the presence of no control in teaching practice and how the experience takes submerged dimensions.

O trabalho a seguir propõe um estudo do filme Chaplin (1992), dirigido por Richard Attenborough. Essa investigação foi feita sob a perspectiva da psicologia social da arte e do cinema, procurando entender o objeto dentro do campo em que ele se encaixa: a atividade artística. Levantamos também a discussão das temáticas que a própria obra suscita. Para tal, alguns autores de áreas conciliáveis com a psicologia foram utilizados também. Exemplo disso é a forte presença de estudos iconológicos no trabalho. Em nossa avaliação do filme subdividimos a análise em duas etapas majoritárias. Na primeira delas, separamos a obra por seções, de acordo com o que consideramos como momentos distintos da narrativa. Cada uma delas corresponde a uma fase da vida do personagem principal e/ou uma série de acontecimentos muito marcantes correlacionados. Nessas seções consideramos também algumas categorias técnicas para a avaliação das cenas. São as atuações, a música, os diferentes enquadramentos e cenários e a luminosidade dos frames, assim como as suas cores. Já na segunda parte da análise, algumas das sequências são avaliadas mais profundamente, considerando as categorias anteriormente citadas e fazendo uma descrição minuciosa do correr daquele instante narrativo. Além disso, são discutidos os tópicos que aparecem com mais força na sequência. Ou seja, estivemos atentos a dois aspectos principais enquanto analisamos o filme: as temáticas recorrentes da obra (como a relação entre fama, sucesso e solidão, por exemplo) e as estratégias utilizadas pela película para criar as cenas e a narrativa. A forma como ela combina os enquadramentos, a música e os demais elementos. Por fim, estabelecemos algumas reflexões gerais sobre o filme como um todo, pensando na análise das seções e das sequências escolhidas. Assim como também propomos uma continuidade das discussões erigidas nesta pesquisa / The following work proposes a study of Chaplin (1992), movie directed by Richard Attenborough. We carried this inquiry under the Social Psychology of Art and Cinema perspective, trying to understand the object inside the field it fits in: the artistic activity. We also discussed themes the own work of art elicits. For this, we applied scholars whose areas dialogue with Psychology as well. For instance, we have a strong presence of iconological studies in the work. The examination of the film required a two main steps subdivided analysis. On the first one, we separated the movie into sections, according to what we considered distinguished moments of the narrative. Each one of them matches a protagonists life phase and/or a correlated chain of remarkable events. We also considered some technical categories on these sections, so we could examine the scenes. They are the performers acting, music, framings and scenarios, and finally the colors and luminosity of these frames. Then we have the second part analysis, which is a deep and detailed examination of some sequences, considering the mentioned categories. In other words, we kept our attention on two main aspects while conducting the analysis: the movie recurring issues (for instance, the relation between fame, success and loneliness) and its scene creation strategies. Namely, the combination of framing, music and other elements. Finally, there are some general reflections about the movie as a whole, contemplating the sections and the chosen sequences analysis. We also propose that the raised debates continue beyond this research

Orientador: Laan Mendes de Barros / Resumo: Esta tese tem por objetivo discutir a contribuição da experiência estética aos estudos da comunicação midiatizada a partir do fenômeno de interpretação da imagem de Aylan Kurdi, pequeno refugiado sírio morto numa praia da Turquia. Toma-se com ponto de partida a imagem na perspectiva da cultura e tratada como um objeto estético que se oferece à percepção estética, que se dá na experiência sensível. A experiência estética é compreendida no seu aspecto relacional, enquanto percepção ativa do espectador diante do objetivo estético midiatizado. Por sua vez, a comunicação é tomada em uma dimensão estética com a participação dos espectadores nas dinâmicas de produção e partilha de sentidos e de afetos. Com as possibilidades de reelaborações e compartilhamentos, as experiências estéticas se desdobram em experiências poéticas, conectadas com possibilidades dialógicas e dialéticas entre os sujeitos, em relações de reconhecimento e de alteridade. A tese fundamenta-se na pesquisa bibliográfica e na análise da imagem e suas releituras, com a elaboração de seis categorias temáticas e três eixos analíticos: temporalidades, territorialidades e mediações. O estudo identificou que alguns temas foram mais recorrentes nas criações dos espectadores de acordo com os elementos formais utilizados, associando a cena com circunstâncias religiosas, políticas e relativas à cotidianidade da criança. As releituras também tiveram aspectos que expandiram a interpretação da cena para manifestações de rua, pe... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This is the objective of discussing the contribution of aesthetic experience to studies of mediatized communication, based on the phenomenon of image interpretation of Aylan Kurdi, a small Syrian refugee who died on a beach in Turkey. It is taken as a starting point in the image in perspective of culture and treated as an aesthetic object that offers aesthetic perception, that offers a sensitive experience. The aesthetic experience is understood in its relational aspect, while the spectator's active perception is facing the mediatized aesthetic objective. In turn, communication is taken on an aesthetic scale with the participation of viewers in the dynamics of production and sharing of meanings and affections. With possibilities for re-elaborations and sharing, as aesthetic experiences unfold in poetic experiences, connected with dialogical and dialectical possibilities between the subjects, in relationships of recognition and change. This is a bibliographic and image analysis study and its reinterpretations,with an elaboration of six thematic categories and three analytical axes: temporalities, territorialities and mediations. The study identified that some themes were more recurrent in the spectators' creations according to the formed elements used, associating a scene with religious, political circumstancesandthe child's usual use. The reinterpretations also had aspects that expanded the interpretation of the scene to street demonstrations, performances, graffiti and monum... (Complete abstract click electronic access below) / Doutor

The aim of this paper was to analyse foregrounding elements in Seamus Heaney’s poem “Digging.” The analysis shows that deviances from everyday non-literary language, i.e. foregrounding, are both likely to evoke defamiliarisation in readers and also provide readers with the likelihood of having an aesthetic experience. This has been done by adhering to the literary theory of Cognitive stylistics and to its related literary concepts, namely the theory of foregrounding. Furthermore, this paper also aimed to provide examples of how “Digging” can be taught in a pedagogical setting. In short, this paper argues for a teaching of poetry that focuses on the sensual aesthetic qualities in a poem. Therefore, this paper supports the claim that students need to attentively read, watch and perform poetry in order to experience its sounds and textures fully. Such an approach corresponds well to an aesthetic education which aims at developing, in students, a heightened awareness of and appreciation for all that touches our lives. Lastly, the pedagogical implementations showed that a foregrounding analysis of “Digging” can be fruitful to incorporate in the EFL classroom. Apart from evoking defamiliarisation and aesthetic reactions, a stylistic analysis can also serve to raise students' linguistic and literary awareness. As a result, students can discover why poets make particular language choices as well as develop their ability to interpret literary works.

(in English): This thesis deals with the sociology of art, its prevailing discourse and the search for other possible ways of taking a sociological approach to art. The text is divided into three complementary sections. The first section addresses the problem of the representation of art through the interpretation of art history as the history of display and the resulting conceptual duality of illusion versus schematicity. In the second section, the focus is on analysing the assumptions underlying the dominant stream of art sociology. These are the social determinations of artistic discourse, the denial of the axiology of art, the legitimisation of art on the basis of its social function, and the unequal approach of the perception of art in society. The relevance of these propositions is, in the present work, parsed in much the same way as the unifying theoretical framework underlying these premises, namely the Marxist aesthetic theory. The work presented in this thesis therefore identifies Marxist materialism as an agent of determinism and the levelling of values in the sociology of art, based on well-founded arguments, and concludes that the Marxist approach to art is unsatisfactory and destructive to sociology. In the end, the work seeks other ways for the sociological reflection of art, through...

Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.

This study examines whether and how art, through its capacity for transformation, can promote empathy, provide insight into built-in prejudices and open up for new perspectives. The thesis analyzes three works of art: the film Love is the Message, the Message is Death, by Arthur Jafa, Go Gone, a textile sculpture group by Moa Israelsson and Modern sovande, a painting by Åke Göransson. In order to broaden the research material, in addition to the artworks, three projects at three different art institutions are examined, all of which treat empathy and art in different ways. These are: Center for Empathy and Visual Art (CEVA) at the Minneapolis Art Institute, Civic Wellness program, Art Institute of Chicago and In the mirror of the wonder of Luca Giordano, Art Perception, Florence. The study's theoretical framework is based on affect theory and empathy theory in aesthetics. The thesis applies an affect-based model as a method for the analysis of the works of art; the examination of the projects takes place through a description of each project's structure, implementation and outcome. This is presented through a schedule for each project. Main questions are: Can art of various kinds, by virtue of its own being, open up new perspectives, make prejudice visible and lead to the promotion of empathy? Can artists, curators and institutions such as museums, create a method to channel the ability of art? Can the thoughts a work of art includes and which take shape and permanence in the public space, lead to action? The study is based on, among other things, Gilles Deleuze’s thoughts about art's ability to release forces that are not themselves visible, as well as in Gustav Jørgen Pedersen's ideas about pictorial thinking – the paradox of wanting to paint what cannot be seen. Jill Bennett's ideas about exhibitions that function as affectively charged spaces, that is, the affective intensities released in the work of art are social and not something intrinsic and private, are also relevant to the study's reasoning. The study shows how the artist's ability to bring out a bodily dimension, a sense of presence – the ability to paint what cannot be seen– is crucial to what the work of art itself can do. The study also shows that it is fruitful to try to create environments through exhibitions, affective charged spaces, where the intention is to try to lead the visitors' attention towards a targeted goal.

In a third space, the boundaries between educational contexts and school disciplines are blurred to look at content from multiple perspectives. Out-of-school organisations, like museums, can offer educational resources that launch a museum-school partnership into a third space. This thesis describes the conceptualisation and validation of such a third space. An interdisciplinary museum programme that supports the cooperation between museum educators and teachers to encourage students in an art-based exploration of science issues is presented. A systematic comparison of the museum programme with the established Framework for Museum Practice resulted in applicable design recommendations for informal educators and schools that strive for a third space. Within an art-based science teaching strategy, this thesis additionally analysed students’ transformative aesthetic experiences and what role imagination plays in those. A newly developed visual analysis indicates how the museum programme offers students opportunities to look at complex aspects of the world depicted by contemporary art and to discern and value their intricacy. The results show how the interdisciplinary approach to science issues allows links between the conceptual and the emotional. By using their own eyes and each other’s company, students observe and create science-related art, expanding their knowledge, perceptions, values, and feelings. It is the imagination that drives cognitive operations, enabling students to envision other perspectives while at the same time considering their own subjectivity. With the conceptualisation of a third space, this thesis coins a suggestion to put the purpose of ‘subjectification’ into science education practice. In addition, it strengthens the position of Arts (A) in Science Technology Engineering Arts and Mathematics (STEAM) education by indicating the benefits of combining the cognitive with the affective and using the hands in conjunction with the head. / Students can discover the complexities of images, objects, and aspects of the world with their powerful eyes. With their imaginative minds, they can envision diverse perspectives while at the same time considering their own subjectivity. This thesis shows that by using their eyes and imagination in an art-based exploration of science issues, students can expand their knowledge, perceptions, values, and feelings. The presented art-based teaching approach is enveloped by an interdisciplinary museum programme that allows links between the conceptual and the emotional. Its design is conceptualised in this thesis as a third space, crossing boundaries between educational contexts and school disciplines. Guidelines are offered to support museum-school partnerships and an instructional design that builds on the framework of transformative aesthetic experiences. In addition, embodied and intuitive aspects of the imagination in conjunction with rationality about science issues, direct a discussion about the purpose of ‘subjectification’ in science education.

本文考察「美感體驗」意涵及發展脈絡，從審美哲學取經並依「接收美學」典範為思辨對象。該典範先賢Jauss等人認為「美感體驗」乃是「審美視域」與「文本結構」交流之產物，故「美感傳播」涉及「審美視域」、「文本結構」、「交流層次」與「美感體驗」等四者。慮及Jauss及其業師Gadamer盼望從華人文化角度了解詮釋過程又如何涵育出特定「美感體驗」，本研究訪談了16位文史科班出身之華人讀者，並選取武俠類型為讀本以理解賞析歷程。 研究發現如下： 就「審美視域」言之，華人讀者審美期待受效果歷史之約制，亦受「使用媒體經驗」、「五感聯想」、「生命週期」與「閱讀史」引導。 就讀者與文本交流之層次言之，華人讀者之創造、渲洩與否定等交流方式多少受在地文化影響。以「渲洩」為例，華人讀者可基於儒家文化或崇尚集群價值觀而「認同」角色，或因期待「皆大歡喜」結局故難接納悲劇而影響「淨化」之交流歷程，再若民族情感與集體記憶等亦扮演關鍵角色。 就「美感體驗」意涵言之，「美感」之本質實與特定社群相關，為當時語境與歷史脈絡所化育之產物。另「美感」之剖析角度亦與在地文化相繫，如華人讀者可從儒、釋、道等基底論及「美」具無常等成份，異於基督教文明強調「沐浴神恩」之感。就「美感」之功用言之，相異社群之讀者亦持不同觀點，如儒家文化涵育下讀者肯定美與「維繫倫常」及「提昇個人修為」相繫，基督教文明陶養之讀者則認為美具「社會整合」或「救贖」之效。 總體言之，本研究以華人讀者之審美歷程為省思起點，從在地角度探索接收美學可再發展之理論、研究方法與實務意涵。本研究認為，閱聽人之情感、生命階段與閱讀史均在審美歷程扮演要角，此為先前接收美學典範較少著墨之處。