This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.

This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.

Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.

In the years around 1950 the first Music Schools – organized by the municipalities – started in Sweden. They were a result of local initiatives. They were not a part of the national school system. Instead their focus was on creating opportunities for children to learn to play an instrument in their spare time. They became so common that in 1970 they could be found in almost every municipality in Sweden. Even so, they were never authorised or controlled by the state. In this thesis I try to describe the ideology of the first local music schools around the year 1950. I try to find out what kind of traditions, ideas and other influences that shaped this ideology. I do that by comparing the ideology of the music schools to the characteristics of the popular education (in German: Bildung). Thereafter I try to do the same with the development of Schools of Arts around the year 1990. I do that in a hermeneutic tradition by using an idea- and ideology analysis from social sciences. My research questions are: Could the ideologi of the first music schools be described by comparing it with the characteristics of ”bildung”. Could the ideologi of the first schools of Arts be described by comparing it with the characteristics of ”bildung”. The ideology of the music schools was strongly influenced by the voluntary music education in grammar schools. That meant that the education was organized in semesters, one lesson per week and one child at a time. More focus was on the development of every childs´ability to play an instrument, less on the possibility to play together with other children or to sing. The ideology of the music schools was also influenced by popular education (Bildung). The schools aimed to give equal opportunities to all children to learn to play an instrument and learn about the ”good culture”. With that expression was meant classical music. The answer to my first question is that the ideologi of the music shools were influenced both from grammar schools and the ”bildung”- movement. In the years around 1990 many Music Schools had developed into Schools of Arts. They included education in dance, drama/theatre, visual art and film/movie. In the same way as the first music schools were born, the first Schools of Art developed in a local context. Some of them found a closer cooperation with the obligatory school but all continued to be independent. The structure of Schools of Arts were in many ways a continuation of the music schools. They were also organized in semesters, one lesson a week etc. In the same time they were a part of the a new trend which meant they were more interested in the creative possibilities for the children, cooperation and the opportunities to be on stage. They also had a broader wiew on what ”good culture” was. The answer on my second question is that the ideologi of the Schools of Arts in some extent are a part of the ”Bildung”-movement but at the same time they are more focused in collaborating with the obligatory school system and are more influenced by instrumental goals like being part of devolopment of new industries in the society. To some extent they are less influenced by ”Bildung” than the first music Schools. There are even today more than 200 000 children taking part in the Schools of Arts. (Including those who are still named Music Schools) In such a big professsionel organisation in most of the Swedish communities it is very surprising that they have developed without a national agenda. / I slutet av 1940-talet bildades de första kommunala musikskolorna med det namnet. Deras bakgrund var dels den frivilliga instrumentalundervisning som erbjöds på läroverken, privat undervisning – inte minst på piano – samt undervisning inom militärmusiken och orkesterföreningar. Allt detta smälte samman till musikcirklar – ofta drivna av studieförbund – som sedan nästan undantagslöst drevs vidare i form av kommunala musikskolor. De lokala variationerna var många. På 1970-talet hade i stort sett alla kommuner en kommunal musikskola. I denna uppsats försöker jag beskriva de första kommunala musikskolornas ideologi runt år 1950, och sedan även beskriva de första kommunala kulturskolornas[1] ideologi runt år 1990. Detta gör jag genom att tolka de idéer, traditioner och ambitioner som kan ses i offentliga dokument, vetenskapliga texter och andra dokument som beskriver pedagogiska idéer som fanns och påverkade beslutsfattandet. Jag gör detta i en hermeneutisk tradition genom en idé- och ideologianalys hämtad från samhällsvetenskapen. Metodiskt arbetar jag med begreppet dimensioner. Dessa utgår från de begrepp som karakteriserar bildning. På så sätt använder jag bildningen som ett raster för att tydligare se musikskolornas och kulturskolornas respektive ideologi. Mina forskningsfrågor är: Kan de första kommunala musikskolornas ideologi beskrivas i relation till bildningsbegreppet? Kan de första kommunala kulturskolornas ideologi beskrivas i relation till bildningsbegreppet? Bildningsbegreppet jag använder är hämtat från Gustavssons och Varkøys beskrivningar av vad som kännetecknar bildning:   Lärandet är en fri process  Lärandet skapar sammanhang  Lärandet skapar jämlikhet eller ojämlikhet  Lärandet är icke-instrumentellt Organisationen av undervisningen på musikskolorna var starkt präglad av läroverken. Den innebar att musikskolorna var organiserade i terminer, en lektion i veckan och med starkt fokus på individen. Den enskilde elevens kunskaper i hanterandet av sitt instrument kom i första rummet, före samspel, eget skapande och även sång/körsång. Den ideologi som präglade musikskolorna hade samtidigt ett starkt folkbildande inslag. Alla barn skulle i demokratisk anda få möjlighet att både lära sig spela ett instrument och ta del av den goda kulturen. Med det senare avsågs främst den klassiska musiken. Svaret på min första forskningsfråga är att de första musikskolornas ideologi i hög grad var påverkad av bildningsbegreppet men att den samtidigt var starkt påverkad av traditionen från läroverk och folkskola. De kommunala kulturskolorna övertog senare mycket av musikskolornas ideologi. Samtidigt var ideologin i den tidens anda präglat av ett större intresse för elevernas eget skapande, för samverkan och att alla elever också skulle framträda. Flera kulturskolor sökte också få en ökad betydelse genom ett närmande till den obligatoriska skolan. Deras ideologi präglades också i hög grad av instrumentella mål som transfereffekter vid inlärning av andra skolämnen, lokaliseringsfaktorer m.fl. Svaret på min andra forskningsfråga är att de första kommunala kulturskolorna ideologiskt i viss mån var en del av bildningsrörelsen. Samtidigt önskade de bli en del av det obligatoriska skolväsendet och motiverade sin existens med instrumentella mål, varför de kan sägas alltmer ta avstånd från att bygga på en ideologi präglad av bildning. Med tanke på musik- och kulturskolorna storlek, över 200 000 deltagare, är det förvånande att all utveckling av dem skett genom lokala initiativ och att samordning och utveckling på nationell nivå i stort sett varit helt frånvarande under de epoker jag berör i denna uppsats. De kommunala musikskolorna, senare kulturskolorna, dominerades av ett görande, av enskilda lärares egna modeller för undervisning, i högre grad än formulerande av en genomtänkt ideologi eller för den delen metodik. [1] De kommunala kulturskolorna benämns oftast som ”kulturskolor”. I den statliga politik som beslutats under uppsatsens tillkomst benämns de som ”kommunala kulturskolor”. Jag använder därför det begreppet men för att göra texten lättare att läsa använder jag ibland de enklare formerna ”musikskola” och ”kulturskola”.  De står för samma sak.

The purpose of this thesis is to find how to work with pedagogical documentation with the aesthetic subjects of dance, music and visual arts. The study also aims to investigate how teachers themselves believe that documentation of these subjects make visible the children’s learning processes. Also to explore if there are any differences in how teachers document the various subjects, and if so, how they can learn from each other to develop the work with pedagogical documentation. I have chosen to use qualitative interviews with a selection of three pre-school teachers who have been working with either dance, music or visual arts. The results show that preschool teachers consider themselves good at documenting, but that the use of pedagogical documentation are not as frequently used. By using pedagogical documentation one can visualize the children's learning in a way that is clear to the children, the teachers and for parents. They do not believe that there are any differences in documenting dance, music or visual arts. They use the same method to document everything they do in their everyday life and do not distinguish the different activities. / Syftet är att undersöka hur pedagoger i förskolan arbetar med pedagogisk dokumentation för att synliggöra barnens lärprocesser i de estetiska ämnena bild, dans och musik. Samt att se om det finns några skillnader på hur pedagogerna dokumenterar de olika ämnena och om man i så fall kan lära av varandra för att utveckla arbetet med pedagogisk dokumentation. Jag har valt att använda mig av kvalitativa intervjuer, med ett urval på tre förskollärare som har varit inriktade på antingen bild, dans och musik. Resultatet visar på att pedagogisk dokumentation är ett viktigt verktyg för att synliggöra barns lärande, på ett sätt som blir tydligt både för barnen, pedagogerna och inte minst för föräldrarna. De intervjuade förskollärarna anser sig duktiga på att dokumentera, men undersökningen visar att användningen av pedagogisk dokumentation inte är lika frekvent. De anser inte heller att det finns någon skillnad i att dokumentera bild, dans och musik. Man använder sig av samma sätt att dokumentera i allt man gör i vardagen och särskiljer inte på olika aktiviteter.

This paper is a description of the research and processes that have culminated in the graduating master's thesis exhibition Dwall. This body of work consists of large-scale drawing and printmaking gallery installations that explore culture as well as darkness and fear, narrative and nature. These pieces have a surreal, illustrative and darkly whimsical quality highly influenced by artists like Kiki Smith, Collette Urban, Jim Holyoak, Albrecht Dürer, Swoon, Damien Hirst and Anselm Kiefer. This supporting paper will place the work in the contemporary and historical context of these artists, and also explore how all these complementary, conflicting influences have led to the production of a graduate-level body of work—particularly with a focus on the paradoxical nature of darkness and how it is a necessary tool for creation.

Σκοπό της παρούσας μελέτης αποτελεί η διερεύνηση του ζητήματος της Αξιολόγησης στην Εικαστική Αγωγή της Πρωτοβάθμιας Εκπαίδευσης. Πιο συγκεκριμένα, επιδιώκεται, μέσα από την επισκόπηση της σχετικής βιβλιογραφίας, η διαμόρφωση μιας εικόνας ως προς τις παραμέτρους που προκύπτουν για το πεδίο αυτό από τη συζήτηση του επιστημονικού συγκείμενου σε εθνικό και διεθνές επίπεδο και ως προς το λόγο της επίσημης ελληνικής εκπαιδευτικής πολιτικής, καθώς και η συγκριτική θεώρηση τους, φωτίζοντας τις τυχόν συνέχειες ή/και ασυνέχειες. Προκειμένου για την παρουσίαση και ανάλυση των δεδομένων, πραγματοποιήθηκε η οργάνωση των παραπάνω απόψεων και θέσεων σε δύο αντίστοιχα πλαίσια, ως προς τους εξής άξονες: τους φορείς υλοποίησης, τις μεθόδους και τις τεχνικές, τα αντικείμενα και τη στοχοθεσία της αξιολόγησης. Σύμφωνα με τα αποτελέσματα της μελέτης, παρά τη σύγκλιση που φαίνεται να υπάρχει μεταξύ των δύο πλαισίων ως προς τις γενικές αρχές της αξιολόγησης, στο πλαίσιο της επίσημης ελληνικής εκπαιδευτικής πολιτικής παρατηρούνται ουσιαστικές ασυνέχειες, καθώς η δόμηση του έχει βασιστεί ως επί το πλείστον στις γενικές κατευθυντήριες αρχές, που έχουν δοθεί σε κρατικό επίπεδο για την αξιολόγηση στη πρωτοβάθμια εκπαίδευση γενικότερα, ανεξαρτήτως γνωστικού αντικειμένου. Ειδικότερα, δε προχωρά στην ανάπτυξη διακριτών μέτρων και αξιολογικών μεθόδων που να συμβαδίζουν με τις διαδικασίες που υπεισέρχονται στο ιδιαίτερο πεδίο των προγραμμάτων εικαστικής αγωγής, δε λαμβάνει υπόψη στο καθορισμό των κριτηρίων αξιολόγησης τις ανάγκες των τοπικών σχολικών περιοχών και τη συμμετοχή όλων των μετόχων της εκπαιδευτικής διαδικασίας και εστιάζει σχεδόν αποκλειστικά στην αξιολόγηση της γνωστικής ανάπτυξης του μαθητή, χωρίς να δίνεται η απαιτούμενη προσοχή στην ανάπτυξη και αξιολόγηση των μεταγνωστικών και αναστοχαστικών δεξιοτήτων και στρατηγικών μάθησης των παιδιών. Ως εκ τούτου, από τα παραπάνω αποτελέσματα προκύπτει ένας εύλογος προβληματισμός ως προς το «κατά πόσο» και «πώς» αξιοποιούνται οι κατευθύνσεις αυτές από τους εκπαιδευτικούς στην εκπαιδευτική πράξη των προγραμμάτων εικαστικής αγωγής / The rational of this current thesis concerns the study of the assessment issue in primary visual art classroom. More precisely, the objective through a focused inquiry of visual art assessment literature is to form an image with regard to the parameters resulting from the consideration of the scientific context at national and international level and the official Greek educational policy, as well as their comparative consideration, enlightening consensus and disagreement. The presentation and analysis of the data were formed by organizing the fore mentioned viewpoints and stances in two frameworks respectively, according to the following criteria: carriers of materialization, methods and techniques, objects and setting the purposes of assessment. The results, despite the agreement that seems to arise between the two frameworks with regard to the philosophical base of the assessment, indicated essential disagreements in the framework of the official Greek educational policy, due to the fact that its construction is mostly based on the In brief, it does not lead to the development and the construction of separate and distinct assessment measures and methods to be used that concur with the procedures inserted in the field of the visual art programs, it does not take into consideration, as far as the setting of assessment criteria is concerned, the local school needs and the participation of all the stakeholders of the educational procedure and it exclusively focuses on the assessment of the cognitive development of the student without paying the required attention to the development and assessment of metacognitive and self-reflective skills of children’s learning strategies. All in all, we can safely infer a logical question of “how much” and “in what way” the most of these guidelines are made by teachers for practical implementation in visual art classes.

Det här examensarbetet tar avstamp i metaforen ”att komma ut ur garderoben” och som blivande lärare intresserar jag mig för hur verksamma lärare som inte är heterosexuella väljer att agera i frågan om öppenhet. Syftet är att synliggöra ickeheterosexuella lärare genom att analysera och tolka tre lärares berättelser om sin yrkesvardag samt att diskutera resultatet ur ett didaktiskt perspektiv. Min empiri bestod av cirka 7 timmar videodokumenterade intervjuer med tre lärare från grundskola, gymnasium och vuxenutbildning. Som en del av intervjun tittade vi på min film, Garderoben, där jag undersökt garderobsmetaforen med min kropp. Filmen är även en del i min konstnärliga gestaltning. I uppsatsen finns också bilder från när jag använder min konstnärliga undersökningsmetod i ett klassrum med en garderob. Det här examensarbetet befinner sig i fältet för livsberättelseforskning och har en socialkonstruktionistisk ansats, samtidigt som jag menar att språket inte kan skiljas från det materiella, det kroppsliga. Min metod har varit temabaserade intervjuer. I uppsatsen presenteras delar av intervjuerna som poetiska narrativ, dels som en kollektiv biografi och dels som korta enskilda berättelser. Jag analyserar dessa med hjälp av queerteori och sexual difference-teori. Studiens resultat går i stort i linje med tidigare svensk forskning inom området, det vill säga att det inte är lätt att vara öppen med en ickenormativ sexualitet i svensk skola. Men min studie fördjupar och breddar fältet. Jag diskuterar även didaktiska konsekvenser. Avslutningsvis diskuterar jag vad som bör göras och sammanfattningsvis föreslår jag att detta är ett område som bör utforskas mer. Diskussionen om skolans normering genom läraren bör väcka större pedagogiskt intresse. / This thesis begins with the metaphor "to come out of the closet". As a future teacher I am interested in how practicing teachers who are not heterosexual choose to act on the issue of openness. The purpose is to highlight non-heterosexual teachers by analyzing and interpreting three teachers' stories about their everyday professional life and discuss the results from a didactic perspective. My empirical data consisted of about seven hours of video documented interviews with three teachers from primary, secondary and adult education. As part of the interview we looked at my movie Garderoben (The Closet), where I examined the ”coming out of the closet”-metaphor bodily. The film is part of my artistic figuration. The thesis includes pictures which show how I test my artistic method of examination in a classroom with a wardrobe. This thesis belongs to the field of life story research and has a social constructionist approach, but I mean that language cannot be separated from the material. My method has been theme-based interviews and I presented parts of the interviews in form of poetic narratives – one collective biography and six individual short stories – which I analyzed using queer theory and sexual difference theory. My overall result is in line with previous Swedish research, namely that it is not easy to be open with a norm breaking sexuality in a school in Sweden. But my study deepens and stretches the field. I also discuss didactic consequences. In the final discussion, I discuss what should be done and come to the conclusion that this is an area that should be more explored. The discussion of the school's norms through the teacher should bring greater educational interest.

Educação e Cultura Visual: uma trama entre imagens e infância procura examinar as imagens no contexto das escolas infantis, tendo como referência as ambiências das salas de aula. O conjunto formado pelas imagens é entendido como um cenário, como um texto visual, que ultrapassa sua função decorativa, exercendo uma pedagogia da visualidade, entendida como os modos das crianças verem e entenderem o mundo. O objetivo investigativo e analítico deste trabalho recai sobre como se constituem e se instituem as imagens nas instituições escolares, bem como os usos pedagógicos atribuídos a elas. Para entender como as imagens assumem um caráter pedagógico nas escolas pesquisadas, busco entender como essa concepção foi construída em diferentes contextos sociais e culturais. Para tanto, foi desenvolvida, durante nove meses, a pesquisa de campo em três Escolas Infantis do município de Porto Alegre junto às professoras e crianças. A pesquisa e o desenvolvimento da tese têm como fundamentos os Estudos da Cultura Visual e os Estudos Culturais, tendo em vista que essas abordagens possibilitam refletir sobre os diferentes materiais visuais como práticas culturais e as significações que elas produzem. As análises dos materiais textuais (entrevistas com professoras e crianças e observações em várias situações do cotidiano escolar) e visuais (as imagens acessadas pelas crianças, bem como aquelas que elas produzem) foram inter-relacionadas com o intuito de entendê-los como um conjunto de textos. O trabalho entende por educação em arte na contemporaneidade uma atitude, de todos os envolvidos, que problematize as representações visuais socialmente naturalizadas, uma vez que essas representações estão entrelaçadas por formas de poder que através de várias modalidades educativas constroem visões específicas sobre o mundo. / Education and Visual Culture: A woof between images and childhood examines the images in the context of infantile schools, having as reference the classrooms´ ambiences. The ensemble formed by the images is understood as a setting, as a visual text, which surpasses its decorative function exerting a visual pedagogy understood as the ways children see and comprehend the world. The investigative and analytical objective of this work is to point how images constitute and establish themselves in school institutions, as well as the pedagogical uses given to them. In order to understand how the images acquire a pedagogical feature in the searched schools, I attempt to understand the construction of this conception in different social and cultural contexts. Therefore, I developed a field research during nine months with teachers and children from three Infantile Schools in the city of Porto Alegre. The research and the development of the thesis are grounded in the Studies of Visual Culture and Cultural Studies considering that these approaches make it possible to think about the different visual materials as cultural practices and also the significances which they produce. The analysis of the textual materials (interviews with teachers and children and observations in several everyday school situations) and visual materials (the images accessed by the children, as well as those which they produce) have been interrelated with the intention of understanding them as a set of texts. The work understands as art education in the contemporaneity an attitude of all the involved ones that can raise questions about the visual representations socially naturalized. These representations are interlaced by forms of power which construct specific views about the world through several educative modalities. / Educación y Cultura Visual: una trama entre imágenes e infancia busca examinar las imágenes en el contexto de las escuelas infantiles, teniendo como referencia los ambientes de las salas de clase. El conjunto formado por las imágenes es entendido como un escenario, como un texto visual que excede su función decorativa, ejerciendo una pedagogía de la visualidad, entendida como la manera como los niños miran y entienden el mundo. El objetivo investigativo y analítico de este trabajo recae sobre cómo se constituyen y se instituyen las imágenes en las instituciones escolares, así como los usos pedagógicos atribuidos a ellas. Para entender cómo las imágenes asumen un carácter pedagógico en las escuelas investigadas, busco entender cómo esta concepción fue construida en diferentes contextos sociales y culturales. Para ello, fue desarrollada, durante nueve meses, la investigación en tres Escuelas Infantiles del Municipio de Porto Alegre con los profesores y niños. La investigación y el desarrollo de la tesis tienen como fundamento los Estudios de la Cultura Visual y de los Estudios Culturales, teniendo en cuenta que estos enfoques permiten reflexionar sobre los diferentes materiales visuales como prácticas culturales y las significaciones que ellas producen. El análisis de los materiales textuales (entrevistas con profesoras y niños en varias situaciones de lo cotidiano escolar) y visuales (las imágenes suministradas por los niños, así como aquellas que ellos producen) fueron relacionadas con el objetivo de entenderlos como un conjunto de textos. El trabajo entiende por educación en arte en la contemporaneidad, una actitud, de todos los involucrados, que cuestione las representaciones visuales socialmente naturalizadas, ya que estas representaciones están entrelazadas por formas de poder que a través de varias modalidades educativas construyen visiones específicas sobre el mundo.

Educação e Cultura Visual: uma trama entre imagens e infância procura examinar as imagens no contexto das escolas infantis, tendo como referência as ambiências das salas de aula. O conjunto formado pelas imagens é entendido como um cenário, como um texto visual, que ultrapassa sua função decorativa, exercendo uma pedagogia da visualidade, entendida como os modos das crianças verem e entenderem o mundo. O objetivo investigativo e analítico deste trabalho recai sobre como se constituem e se instituem as imagens nas instituições escolares, bem como os usos pedagógicos atribuídos a elas. Para entender como as imagens assumem um caráter pedagógico nas escolas pesquisadas, busco entender como essa concepção foi construída em diferentes contextos sociais e culturais. Para tanto, foi desenvolvida, durante nove meses, a pesquisa de campo em três Escolas Infantis do município de Porto Alegre junto às professoras e crianças. A pesquisa e o desenvolvimento da tese têm como fundamentos os Estudos da Cultura Visual e os Estudos Culturais, tendo em vista que essas abordagens possibilitam refletir sobre os diferentes materiais visuais como práticas culturais e as significações que elas produzem. As análises dos materiais textuais (entrevistas com professoras e crianças e observações em várias situações do cotidiano escolar) e visuais (as imagens acessadas pelas crianças, bem como aquelas que elas produzem) foram inter-relacionadas com o intuito de entendê-los como um conjunto de textos. O trabalho entende por educação em arte na contemporaneidade uma atitude, de todos os envolvidos, que problematize as representações visuais socialmente naturalizadas, uma vez que essas representações estão entrelaçadas por formas de poder que através de várias modalidades educativas constroem visões específicas sobre o mundo. / Education and Visual Culture: A woof between images and childhood examines the images in the context of infantile schools, having as reference the classrooms´ ambiences. The ensemble formed by the images is understood as a setting, as a visual text, which surpasses its decorative function exerting a visual pedagogy understood as the ways children see and comprehend the world. The investigative and analytical objective of this work is to point how images constitute and establish themselves in school institutions, as well as the pedagogical uses given to them. In order to understand how the images acquire a pedagogical feature in the searched schools, I attempt to understand the construction of this conception in different social and cultural contexts. Therefore, I developed a field research during nine months with teachers and children from three Infantile Schools in the city of Porto Alegre. The research and the development of the thesis are grounded in the Studies of Visual Culture and Cultural Studies considering that these approaches make it possible to think about the different visual materials as cultural practices and also the significances which they produce. The analysis of the textual materials (interviews with teachers and children and observations in several everyday school situations) and visual materials (the images accessed by the children, as well as those which they produce) have been interrelated with the intention of understanding them as a set of texts. The work understands as art education in the contemporaneity an attitude of all the involved ones that can raise questions about the visual representations socially naturalized. These representations are interlaced by forms of power which construct specific views about the world through several educative modalities. / Educación y Cultura Visual: una trama entre imágenes e infancia busca examinar las imágenes en el contexto de las escuelas infantiles, teniendo como referencia los ambientes de las salas de clase. El conjunto formado por las imágenes es entendido como un escenario, como un texto visual que excede su función decorativa, ejerciendo una pedagogía de la visualidad, entendida como la manera como los niños miran y entienden el mundo. El objetivo investigativo y analítico de este trabajo recae sobre cómo se constituyen y se instituyen las imágenes en las instituciones escolares, así como los usos pedagógicos atribuidos a ellas. Para entender cómo las imágenes asumen un carácter pedagógico en las escuelas investigadas, busco entender cómo esta concepción fue construida en diferentes contextos sociales y culturales. Para ello, fue desarrollada, durante nueve meses, la investigación en tres Escuelas Infantiles del Municipio de Porto Alegre con los profesores y niños. La investigación y el desarrollo de la tesis tienen como fundamento los Estudios de la Cultura Visual y de los Estudios Culturales, teniendo en cuenta que estos enfoques permiten reflexionar sobre los diferentes materiales visuales como prácticas culturales y las significaciones que ellas producen. El análisis de los materiales textuales (entrevistas con profesoras y niños en varias situaciones de lo cotidiano escolar) y visuales (las imágenes suministradas por los niños, así como aquellas que ellos producen) fueron relacionadas con el objetivo de entenderlos como un conjunto de textos. El trabajo entiende por educación en arte en la contemporaneidad, una actitud, de todos los involucrados, que cuestione las representaciones visuales socialmente naturalizadas, ya que estas representaciones están entrelazadas por formas de poder que a través de varias modalidades educativas construyen visiones específicas sobre el mundo.