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.

Made available in DSpace on 2016-04-18T21:31:51Z (GMT). No. of bitstreams: 7 Silvia Rosa Marques Paulo1.pdf: 2373545 bytes, checksum: 9dbff3088fe0ec0d0b0530cb1efa1bef (MD5) Silvia Rosa Marques Paulo2.pdf: 2816627 bytes, checksum: c534faa3cd5ce236f20031e6bbe175f9 (MD5) Silvia Rosa Marques Paulo3.pdf: 2951507 bytes, checksum: d5177950e6b697eb155d19179196c6f9 (MD5) Silvia Rosa Marques Paulo4.pdf: 2460069 bytes, checksum: 8d6afce295efe197beee29c7430defbd (MD5) Silvia Rosa Marques Paulo5.pdf: 2680379 bytes, checksum: 5539b7cf0d0dd4b58da90a27d728fd6b (MD5) Silvia Rosa Marques Paulo6.pdf: 3222800 bytes, checksum: 804ad141afab474933d335fe0ce891e1 (MD5) Silvia Rosa Marques Paulo7.pdf: 2106912 bytes, checksum: 547f0e376404d309e614618c6ab3afe4 (MD5) Previous issue date: 2008-12-03 / Fundo Mackenzie de Pesquisa / This work was based in a research about a methodology of teaching in Visual Arts applied in high school, in the Public State School Professora Zipporah Rubinstein, located in the Eastern Region of São Paulo city. It aims to used the methodology called Triangular , set out by Anna Mae Barbosa, intending to develop the skills for the appreciation, contextualization and elaboration of poetic proposals of high school students. The research was justified in using images in the classroom and, consequently, there was a preparation to analyze and understand them before making an artistic production. The images are of rural workers and were chosen because it is an issue rarely studied in the field of Arts and little known by students. The proposal was that they meet the artists and their works, the socio-cultural context and history of the time, discussing their life and experiences expressed by the artists, thus creating a new perspective on the current critical condition and really enjoy the importance of the Arts. The methodology used was the qualitative research, which is theoretically based on the Research-Action. In this, the students produced responses in poetic art, by reading, analyzing and contextualizing painting of Candido Portinari and pictures of Sebastião Salgado, reinterpreting and creating new readings of works. The discussions held in this research are related to works that have social meaning, those dealing with the analysis of workers at two specific moments by artists who have different techniques to address the issue. In one part, Portinari paints the frescoes with the theme of workers, on the other, Salgado, using photo focuses on the dimension of those employees who interact with Brazil social. / Esta dissertação teve por base uma pesquisa sobre metodologia de ensino em Artes Visuais aplicada no Ensino Médio, na Escola Pública Estadual Professora Ziporam Rubinstein, situada na Zona Leste da cidade de São Paulo. O objetivo foi aplicar a Metodologia Triangular, enunciada por Ana Mae Barbosa, visando o desenvolvimento de habilidades para a apreciação, contextualização e elaboração de propostas poéticas pelos alunos do Ensino Médio. A pesquisa justifica-se pela utilização de imagens em sala de aula, havendo, portanto, uma preparação em analisar e entender estas imagens antes do fazer artístico. As imagens analisadas são de trabalhadores rurais e foram escolhidas por ser uma temática pouco abordada na área e pouco conhecida pelos alunos. A proposta foi fazer com que os mesmos conhecessem os artistas e suas obras, o contexto sócio-cultural e histórico da época de criação, dialogando com as vivências e experiências expressas pelos autores, criando assim, uma nova perspectiva crítica sobre a atual condição e realidade na importância do fruir a Arte. A metodologia de pesquisa utilizada foi qualitativa, tendo como base teórica a pesquisa-ação. Nela, os alunos produziram respostas poéticas em artes plásticas a partir da leitura, análise e contextualização da pintura de Candido Portinari e da fotografia de Sebastião Salgado, reinterpretando-as e criando novas possibilidades de significações para elas. As discussões que permearam o trabalho tiveram como referência as obras de sentido social, ou seja, aquelas que tratam da análise dos trabalhadores em dois momentos específicos e feitas por artistas com diferentes técnicas de abordar o assunto. Se de um lado Portinari pinta os afrescos com a temática dos trabalhadores, por outro, Salgado, usando a fotografia põe em evidência a dimensão dessa mesma categoria de pessoas no momento em que interagem na questão social do Brasil.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-04-17T11:42:09Z No. of bitstreams: 1 cleciuscamposcorrea.pdf: 4897242 bytes, checksum: ea16e084b3939092bb26fced236ddcb1 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-04-18T13:38:37Z (GMT) No. of bitstreams: 1 cleciuscamposcorrea.pdf: 4897242 bytes, checksum: ea16e084b3939092bb26fced236ddcb1 (MD5) / Made available in DSpace on 2017-04-18T13:38:37Z (GMT). No. of bitstreams: 1 cleciuscamposcorrea.pdf: 4897242 bytes, checksum: ea16e084b3939092bb26fced236ddcb1 (MD5) Previous issue date: 2016-08-31 / Esta dissertação analisa o papel dos artistas plásticos no processo de modernização ocorrido no Brasil após a Segunda Guerra Mundial, especificamente nos anos 1950 e 1960, apresentando-os como agentes desse movimento, particularmente nos domínios da arte, da moda e da imprensa. As principais referências são as reformas gráficas realizadas no Jornal do Brasil e no Correio da Manhã, pelos artistas Amilcar de Castro e Alexandre Wollner, respectivamente, e a obra da artista plástica Olly Reinheimer — desenvolvida entre a arte e a moda. Por meio desses exemplos, investiga-se como as novas correntes estéticas no período — notadamente o Concretismo e o Neoconcretismo — procuraram promover a integração arte e vida, por meio da estetização do cotidiano e dos novos estilos de vida. / This dissertation analyzes the role of plastic artists in the modernization process that occurred in Brazil after World War II, specifically in the 1950s and 1960s, presenting them as agents of this movement, particularly in the fields of art, fashion and the press. The main references are the graphic reforms carried out in the Jornal do Brasil and Correio da Manhã, by the artists Amilcar de Castro e Alexandre Wollner, respectively, and the artwork of the plastic artist Olly Reinheimer — developed between art and fashion. Through these examples, we investigate how the new aesthetic currents in the period — notably Concretism and Neoconcretism — sought to promote the integration of art and life, through the aestheticization of daily life and new lifestyles.

Résumé: Limits of work of copyright in visual art This diploma thesis primarily deals with the concept of copyright work in the current Czech law and its relation towards works of contemporary visual art. The main aim of this thesis is to carry out a complex analysis of conceptual features of work of copyright under the Czech Copyright Act No. 121/2000 Coll. (including key and not always properly interpreted terms such as work of art, originality, or creativity) and then to apply these features to examples of the world's major works of visual art from the twentieth and twenty-first century. Author of this thesis tries to find out whether even specific works of visual art "meet legal requirements" imposed on works of copyright and thus may enjoy the copyright protection in the Czech legal system. It is the effort to identify boundaries between works of copyright and objects which are not under the protection of copyright law what is reflected in the title of this diploma thesis. Text of this thesis is divided into two main units. The first unit, which is the core of the thesis, is called "Limits of work of copyright", the second unit is called "Limits of appropriation". In the general part of the first unit the author tries to focus deeply on theoretical inquiry about the concept of work of copyright under...

The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2018-07-18T20:24:38Z No. of bitstreams: 1 Valdquíria Bertuzzi.pdf: 2851652 bytes, checksum: 418afeb63b67b7f33b2805da64f78326 (MD5) / Made available in DSpace on 2018-07-18T20:24:38Z (GMT). No. of bitstreams: 1 Valdquíria Bertuzzi.pdf: 2851652 bytes, checksum: 418afeb63b67b7f33b2805da64f78326 (MD5) Previous issue date: 2017-12-11 / A qualitative nature conducted research focused on the knowledge and practices related to Visual Art of a group of Early Childhood Education teachers. As general purpose attempts to identify the knowledge and practices of those teachers proposal for small children in Art. As specific purposes, to analyze possibilities in Visual Art knowledge construction in permanent and inservice teachers training and to understand how the knowledge built in this space unfolds in the practices with children from 4 -5 years of age. Carried out with 7 teachers and the Pedagogical Assistant (AP) the research took place in a Municipal Early Childhood Education and Elementary School (EMEIEF), in Santo André, named by us: EMEIEF Kaleidoscope. A data collection, as methodological procedure, from characterization forms; questionnaires; formative meetings; recorded and transcribed meetings; photographic records of teachers and children production; reading and analysis of the Pedagogical Political Project and plannings. The Content Analysis proposed by Bardin (2016) was used to analyze the data. The theoretical reference was organized as follows: for the historical rescue of the Teaching of Art in Brazil and its foundations we hold ourselves in Ana Mae Barbosa (2002, 2008, 2012) and other scholars of the History of Education. In relation to Art in the interface with the culture of childhood we count on Ana Lúcia Goulart de Faria (2002, 2013, 2015) and the Brazilian legislation; Vygotsky (1998, 1999, 2001) brings contributions to the understanding of children's development and Art; Paulo Freire (1982, 1987, 1992, 1996, 1997, 2001, 2005) and Tardif (2002, 2006) refer us to important reflections on the conscience of the teacher profession, viewing to highlight essential basis of teaching, training and its challenges. As a result we find that the practices and discourses of teachers are reflections of their personal and professional paths. The consciousness of the fragility in their formations is signaled by them, especially when they demand permanent formation. / Pesquisa-intervenção de natureza qualitativa tem por objeto os saberes e fazeres de um grupo de professoras de Educação Infantil em relação à Arte Visual. Como objetivo geral busca identificar os conhecimentos e as práticas dessas professoras em suas propostas em Arte com crianças pequenas. Como objetivos específicos visa analisar possibilidades de construção de conhecimento em Arte Visual na formação permanente e em serviço das professoras e compreender como o conhecimento construído nesse espaço se desdobra nas práticas com crianças de 4 e 5 anos. A pesquisa realizada com 7 professoras e a Assistente Pedagógica (AP) efetivou-se em uma Escola Municipal de Educação Infantil e Ensino Fundamental (EMEIEF), da rede de Santo André, denominada por nós: EMEIEF Caleidoscópio. Teve como procedimento metodológico a coleta de dados mediante: ficha de caracterização; questionários; Encontros Formativos, audiogravados e transcritos; registros fotográficos das produções das professoras e das crianças e leitura e análise do Projeto Político Pedagógico e planejamentos. A Análise de Conteúdo proposta por Bardin (2016) foi utilizada para análise dos dados. O referencial teórico foi organizado da seguinte forma: para o resgate histórico do Ensino da Arte no Brasil e seus fundamentos nos sustentamos em Ana Mae Barbosa (2002, 2008, 2012) e outros estudiosos da História da Educação. Em relação à Arte na interface com a cultura da infância contamos com Ana Lúcia Goulart de Faria (2002, 2013, 2015) e a legislação brasileira; Vigotski (1998, 1999, 2001) traz contribuições para a compreensão do desenvolvimento infantil e a Arte; Paulo Freire (1982, 1987, 1992, 1996, 1997, 2001, 2005) e Tardif (2002, 2006) nos remetem a importantes reflexões sobre a consciência da profissão professor, visando ressaltar fundamentos essenciais da docência, formação e seus desafios. Como resultados, constatamos que as práticas e discursos das professoras são reflexos de seus percursos pessoais e profissionais. A consciência da fragilidade em suas formações é sinalizada por elas, sobretudo quando requisitam formação permanente. Palavras-chave: Arte visual, Educação Infantil, Formação permanente de professores, Práticas

The doctoral thesis deals with the topic of exihibiting empty gallery space. The purpose is to clarify the specifics that accompany the exhibited empty gallery and to define the essence of more general patterns of exposition in the gallery space. Doctoral thesis also presents the special simple void that generates art itself. Finally, the text reopens a polemic within the institutional theory of art. Doctoral thesis criticizes the established terminology related with exposition of the empty gallery.

Diploma thesis is survey into the relationship between art and sport. It searches new social elements, which can be used as an approach to art and physical education. Didactic part contains a suggestion, which has common issues for both art and physical education that can be used in school lessons.

The thesis deals with the use of animated films in art education. It presents animation as a modern and accessible form of education which stimulates children's creativity, social and communication skills and their ability to teamwork. It describes the positive potential of animation in education as well as some problematic issues and their feasible solutions. The author builds on the best practise of Czech and foreign teachers and practitioners of the education of animation but also on her own experience in the field. The text is supplemented by a blog website that makes the experience accessible to teachers interested in the topic and to the general public. The artwork part consists of two short animated films, each with an artists' book related to the film. Powered by TCPDF (www.tcpdf.org)

This thesis deals with analysis of the Framework Educational Program for Elementary Education (FEP EE) and finding means to meet the objectives of FEP EE in art education which leads to a concept of seventh grade curriculum. Thesis also reflects the author's personal approach to the formulation of the contents of the curriculum. The theoretical part focuses on examining the FEP EE and finding means to meet objectives in the form of curriculum concept for the seventh grade. The findings of the theoretical part is complemented by comparison of curricular documents for art subjects of Czech Republic and Great Britain. The empirical part describes the procedures for defining the curriculum concept. It includes transmission analysis of the FEP EE objectives to the content of the curriculum, which is based primarily on teaching practice. Analysis is followed by personal perception of the FEP EE requirements in the form of teaching aimed at the creating process and by description of the analyzing process of author`s teaching in connection with the FEP EE concept exploration at selected elementary schools. The didactic part concludes the research process with application of findings in implementation and evaluation of two thematic wholes in art education The output of exploring practical experience and...