Made available in DSpace on 2016-04-18T21:31:34Z (GMT). No. of bitstreams: 2 Suely Ramos da Silva1.pdf: 93642 bytes, checksum: 44193d818bc915bf42ab46c178531f16 (MD5) Suely Ramos da Silva2.pdf: 1347866 bytes, checksum: d3fd05db36edebb52684b0e3f8e28526 (MD5) Previous issue date: 2007-01-30 / Fundo Mackenzie de Pesquisa / The present work intends to propose the beggining a change at school, through the concept of teaching with projects, attached to the aesthetical education, in all subjects. It formulates the research question about a difficulty faced by teachers of other areas to evaluate the students without knowing the art concepts, and it proposes the formative evaluation as a solution, especially through the student s self-evaluation. It targets school and high school students of the public educational institutes of São Paulo state. It considers at first that the recognized creativity of Brazilian people should be used at school, what it is believed that would cause a major impact in the students learning process and would help to form happier and more fulfilled civilians. It proposes a cooperative work in classroom, teaching theory connected to practice aiming to collaborate in the education of individuals more capable of participating in the so called society of information and knowledge that we live in. Colaborating with teaching professionals interested in the present subject, a real experience was reported: the development of a project which the final result was an exhibition of photographs of São Paulo city taken by the high school students, during its 450 year celebration in 2004.This project was proposed to History discipline, and the students have made a self-evaluation in order to reflect about the experience and learning. The research result pointed that students were capable of serious self-evaluation and that a formative evaluation was efficient for artistic works, at least in that specific project. / Este trabalho tem como objetivo, propor um começo de mudança na escola, por meio do ensino com projetos, vinculado à educação estética, em todos os componentes curriculares. Formula a questão de pesquisa sobre uma possível dificuldade dos professores de outras áreas avaliarem seus alunos sem o conhecimento dos conceitos do campo da Arte e propõe como solução a utilização da avaliação formativa, principalmente por intermédio da auto-avaliação dos alunos. Vislumbra como público alvo, os alunos do ensino médio e fundamental, da rede pública do Estado de São Paulo. Considera como premissa que deve-se aproveitar a reconhecida criatividade do povo brasileiro, desde sua passagem pela escola, o que acreditase, causaria grande impacto no processo de aprendizagem dos educandos e contribuiria na formação de sujeitos mais felizes e realizados. Propõe o trabalho cooperativo em sala de aula, com um ensino da teoria interligado à prática, para colaborar na formação de sujeitos mais capazes de participar da sociedade da informação e do conhecimento, que ora temos. Com a intenção de colaborar com outros profissionais do ensino, que tenham interesse no tema desta dissertação, demonstrou-se um relato de experiência, a saber, o desenvolvimento de um projeto, que teve como produto final uma mostra de fotografias elaboradas pelos alunos do ensino médio, sobre a cidade de São Paulo, na comemoração dos 450 anos de sua fundação, em 2004. O trabalho atendeu à uma proposta da disciplina de História e os alunos procederam à uma auto-avaliação para refletirem sobre suas vivências e aprendizado. O resultado da pesquisa apontou que estes alunos foram capazes de se auto-avaliarem com seriedade e que a avaliação formativa foi uma alternativa eficaz para avaliar suas produções artísticas, ao menos neste projeto específico.

This essay accounts for research describing the relationship between music and learning and accounts for studies that prove the positive effects that music and aesthetical education has on various ages of students and various subjects. It suggests what implications the 2008 decision to remove aesthetical education as a mandatory subject in upper secondary school might cause and discusses the discrepancy between that decision and the rules, regulations and demands that the Department of Education calls for in the Curriculum for the Upper Secondary School (2013). The research in this essay aimed to prove that aesthetical education has a valid place as a subject in the Swedish upper secondary school and investigated what effect soft background music had on vocabulary attainment in two groups of 7th graders in a Swedish urban school. The research consisted of two vocabulary tests performed on two groups of 7th graders where the students studied and took one vocabulary test without background music and one with background music. The results proposed a correlation between improved ESL vocabulary attainment and soft background music. This suggestion was supported by using the teaching method of Suggestopedia and by drawing parallels to several studies presented in the essay.

The importance of visual culture is emphasized in an emerging post-modernist society; besides, visual characteristics are regarded as an extremely important educational means in achieving various social, cultural, and educational goals. Through visual perception of environment humans experience various aesthetical emotions. The visual quality of environment reflects the spiritual culture of society, shapes aesthetically attractive cultural landscape, and cultivates traditions of environmental adjustment that create unique surroundings of our living place. The visual quality is objective and can be measured; but the aesthetical quality is a product of evaluation determined by cultural background and personal features. In the contemporary context of globalisation and multicultural trends, a rapidly changing environment requires from us not only a simple adaptation, but the maintenance of positive, creative, inseparable from aesthetical, relationship as well. Relationship between personality and the world begins from attitude that is an instrumental way of evaluation of environment and determines individual����s reaction to the environmental changes. Tenaciously cultivated relationships and attitudes towards the environment, the objects of art and the values they represent in due course develop into person’s value-oriented convictions that form the core of personality. The attitudes stabilization begins in adolescence, when their outlines, together with personal... [to full text]

The importance of visual culture is emphasized in an emerging post-modernist society; besides, visual characteristics are regarded as an extremely important educational means in achieving various social, cultural, and educational goals. Through visual perception of environment humans experience various aesthetical emotions. The visual quality of environment reflects the spiritual culture of society, shapes aesthetically attractive cultural landscape, and cultivates traditions of environmental adjustment that create unique surroundings of our living place. The visual quality is objective and can be measured; but the aesthetical quality is a product of evaluation determined by cultural background and personal features. In the contemporary context of globalisation and multicultural trends, a rapidly changing environment requires from us not only a simple adaptation, but the maintenance of positive, creative, inseparable from aesthetical, relationship as well. Relationship between personality and the world begins from attitude that is an instrumental way of evaluation of environment and determines individual’s reaction to the environmental changes. Tenaciously cultivated relationships and attitudes towards the environment, the objects of art and the values they represent in due course develop into person’s value-oriented convictions that form the core of personality. The attitudes stabilization begins in adolescence, when their outlines, together with personal self-actualization... [to full text]

Made available in DSpace on 2014-12-17T14:36:37Z (GMT). No. of bitstreams: 1 ArtemisaAS_DISSERT_Pag1_ate_pag80.pdf: 3092024 bytes, checksum: 84093abb355c05bcb8f86787cc620cc3 (MD5) Previous issue date: 2010-09-30 / In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans / Para o desenvolvimento deste estudo definimos como objetivo central de nossa investiga??o analisar e interpretar os significados das experi?ncias est?ticas vivenciadas por cantoreseducadores no processo de forma??o humanescente. O interesse pelo tema da experi?ncia est?tica foi constru?do a partir de minha pr?pria experi?ncia h? doze anos como cantora do Madrigal da Escola de M?sica, grupo de extens?o mais antigo da Universidade Federal do Rio Grande do Norte, um espa?o criado para a pesquisa e extens?o cultural com perspectiva estrutural que aproxima docentes, discentes e comunidade externa oriundos de diferentes realidades sociais para o desafio de combinar a habilidade do canto coral, o envolvimento da corporeidade e os significados de suas experi?ncias est?ticas. Este estudo aponta para o entendimento de arte como sendo express?o perceptiva de emo??es humanas, como cria??o de exig?ncia existencial, de reestrutura??o de si e de constru??es que d?o forma ? beleza. Busca-se uma contribui??o densa de novos desafios ? exig?ncia peculiar do potencial humano em termos de repert?rio de sensibilidades, do envolvimento, da expectativa em ampliar as possibilidades e as compet?ncias humanas e sociais. No processo de forma??o humanescente, encontramos o campo fecundo para usufruir possibilidades art?sticas espont?neas, experimentar emo??es e sentimentos partilhados na vida em grupo, provocar impulsos para cria??o l?dica inusitada, estabelecer uma ambi?ncia est?tica potencializadora que evidencia o simb?lico e o imagin?rio com o aprofundamento das propriedades da ludopoiese ricas em significados diversos. A partir de princ?pios norteadores da etnofenomenologia encontramos perspectivas estruturantes e indispens?veis que contemplam valores, desejos, imagens arquet?picas e ideias que imprimem originalidade e fecundidade ao estudo. Nesse percurso compreendemos a abund?ncia de momentos vivenciais de intenso comprometimento, conviv?ncia, desafios, reencontros e conex?es que despontam em aspectos fundamentais para a liberdade, autonomia, criatividade e novas descontinuidades. Esse reconhecimento nos aproxima da plenitude luminosa para humanescer