Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research that I bring as Doctoral Thesis in Education in the Knowledge Training and Professional Development (PPGE-UFSM), has as objective to contribute with theoretical and epistemological aids for Teacher Training in general, and particularly for Environmental Education (EA), from the anthropophagical assumptions and the inventive practices of Hélio Oiticica, Paulo Freire and Augusto Boal, in an intercultural perspective of education. The framework that guided the researcher´s investigative and reflexive eye (BARCELOS, 2005, 2006) in the sense of the research information production (JAQUES GAUTHIER, 1998), was of establishment of dialogues that favor the intercultural aspects (CANCLINI, 2003b) with imaginaries and representations about environmental issues in general and particularly teacher training, present in productions of cultural anthropophagical orientation, after the Modern Art Week of 1922, selected for this research and the inventive practices of Hélio Oiticica, Augusto Boal and Paulo Freire. When trying to define the method of this research I affirm that it is a qualitative research and has predominantly theoretical-bibliographical characteristics, while bringing in its design the intention to investigate the process of incorporation of the theoretical references in my formation process. In this sense, an autobiographical aspect is added as I tell about the devouring I did while on this anthropophagical road, bringing the educational propositions that I have constructed: Parangolé, Anthropophagical Bed and Collective Panel. Such propositions consisted of interventions in different educational settings and had as intention to construct provocative spaces for reflection, aiming to unsettle ideas and crystallized practices that, as plant elites in communication with the soil (ANDRADE, 1924), we cultivate in our teaching. The anthropophagical assumptions and the inventive practices of the authors researched here have contributed with teacher training in general, and particularly with Environmental Education, as they suggest the construction of educational practices where the student is no longer only a spectator, but becomes the protagonist in the educational process. Such proposition is present in the ideas of participation, creation and dialogue brought by the authors (OITICICA, 2008; BOAL, 1975; FREIRE) / A presente pesquisa que trago como Tese de Doutoramento em Educação, na Linha Formação Saberes e Desenvolvimento Profissional (PPGE-UFSM), tem como objetivo contribuir com subsídios teóricos e epistemológicos para a Formação de Professores(as) em geral, e para a Educação Ambiental(EA) em particular, a partir dos pressupostos antropofágicos e das práticas inventivas de Hélio Oiticica, Paulo Freire e Augusto Boal, numa perspectiva intercultural de educação. O referencial que orientou o olhar investigativo e reflexivo do pesquisador (BARCELOS, 2005, 2006) no sentido da produção das informações de pesquisa (JACQUES GAUTHIER, 1998), foi o de estabelecimento de diálogos que privilegiassem os aspectos interculturais (CANCLINI, 2003b) com imaginários e representações sobre as questões ambientais em geral, e a formação de professores(as) em particular, presentes nas produções de orientação cultural antropofágica, pós Semana da Arte Moderna de 1922, selecionadas para esta pesquisa, e das práticas inventivas de Hélio Oiticica, Augusto Boal e Paulo Freire. Ao tentar definir o método desta pesquisa afirmo que esta é do tipo qualitativo e possui características predominantemente de caráter teórico-bibliográfico, embora traga no seu desenho a intenção de investigar o processo de incorporação dos referenciais teóricos em meu processo formativo. Nesse sentido, é acrescentado a ela um caráter também autobiográfico, na medida em que conto sobre as devorações que fiz durante essa caminhada antropofágica, trazendo as proposições educativas que construí: Parangolé, Cama Antropofágica e Painel Coletivo. Tais proposições consistiram em intervenções realizadas em diferentes cenários educativos e tiveram como intuito construir espaços provocativos de reflexão, visando desacomodar idéias e práticas cristalizadas, que, como elites vegetais em comunicação com o solo (ANDRADE, 1924), cultivamos em nosso fazer docente. Os pressupostos antropofágicos e as práticas inventivas dos autores aqui pesquisados contribuem para a formação de professores(as) de maneira geral, e para a EA em particular, na medida em que sugerem a construção de práticas educativas onde o educando deixe de ser mero espectador e passe a ser protagonista do processo educativo. Tal proposição está presente nas ideias de participação, criação e diálogo trazidas pelos autores (OITICICA, 2008; BOAL, 1975; FREIRE).

Made available in DSpace on 2015-05-14T12:40:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 510617 bytes, checksum: b0ac5dd850554148b29fc47358dcbbf2 (MD5) Previous issue date: 2008-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research constitutes a study of poems about black representation in Urucungo (1932), by Raul Bopp, a work which is strongly characterized by the principles of the modernist anthropophagic movement (Antropofagia). Considering this perspective, the purpose is to examine in what ways black people are represented in these poems, having two parameters as a basis: the use of Afro-Brazilian cultural elements and aspects concerning the social and historical process of black people as slaves. Following the dynamics inherent to literary studies, the analysis of poems emphasizes aesthetic construction, without ignoring historical components that play a relevant function in the text. / Esta dissertação tem como objeto de estudo os poemas sobre o negro reunidos na obra Urucungo (1932), de Raul Bopp, fortemente marcada pelas propostas do movimento modernista da Antropofagia. Considerando esta perspectiva, busca-se verificar como se dá nesses poemas a representação do negro, a partir de dois eixos: a utilização de elementos culturais de procedência afro-brasileira e aspectos do processo sóciohistórico do negro enquanto escravo. Obedecendo a lógica dos estudos literários, a análise dos poemas priorizará a elaboração estética, sem deixar de lado componentes de apelo histórico que se apresentam com função importante no corpo do texto.

Ce travail de thèse présente une recherche sur l’art de la performance et ses implications esthétiques, politiques, éthiques, cognitives et subjectives dans le contexte artistique et culturel de la tradition anthropophagique brésilienne à l’époque où la performance émerge en tant que genre artistique dans les années 1960-1970. Face à de telles implications, l’art de la performance manifeste non seulement un processus d’hybridation des genres artistiques et des rapports entre artiste, œuvre, spectateur, mais aussi une toute autre forme d’existence, un devenir hybride. En tenant compte que « l’hybride » serait un paradigme qui dépasse l’ère de la signification et assume une tendance hégémonique et acritique dans le monde instauré par la modernité occidentale, nous nous interrogeons sur les contributions critiques et les enjeux du processus de devenir hybride dans l’art de la performance et dans la culture face aux mécanismes qui bloquent des nouveaux modes de sentir et de production de la subjectivité.Pour développer ces articulations, nous prenons surtout appui sur la pensée esthétique de Deleuze-Guattari ; l’approche psychodynamique de la subjectivité et ses modes sensibles d’aborder l’altérité dans la pensé de Suely Rolnik ; la reformulation de la tradition anthropophagique selon Le Manifeste Anthropophage d’Oswald de Andrade ; et la théorie sur le perspectivisme et le mythe amérindiens de l’anthropologue Viveiros de Castro. En ce sens, en faveur d’une intensification de la puissance critique du corps et d’autres modes d’existence dans le rapport à l’hybridité du monde, nous proposons de penser l’art performatif comme un paradigme hybride d’une modernité autre. Le mode de création, de résistance et de connaissance du performeur présente une attitude critique et une dynamique hétérogénétique, d’alter-action de lui-même et du monde, qui est assez semblable à celle de l’ancienne matrice anthropologique de l’anthropophagie. Le performeur affirme donc la possibilité d’émergence d’une modernité autre, liée peut-être à un autre type de monde hybride, un monde animiste et complètement anti-monothéiste, qui comprend la vie comme dévoration, comme immanence du danger et imminence du sens, monde où la solidarité sociale se définit en altérité et où la forme indigène du cogito serait « cela existe, donc cela pense ». / The following thesis is a research about the art of performance in its aesthetic, political,ethical, cognitive and subjective implications; within the Brazilian anthropophagy tradition’s artistic and cultural context in the period when the art of performance emerges as an artistic genre, in the sixties and seventies. Faced with such implications, the art of performance not only indicates a process of hybridization of artistic genres and the relations between artist, work and spectator; but also indicates a whole different way of existence: « becoming-hybrid ». Defining « hybrid » as an intruder paradigm who overcomes the age of signification, one that assumes a hegemonic and uncritical trend in the world established by Western modernity; we ask ourselves about the critical contributions and challenges of becoming-hybrid in the art of performance and in the culture, especially considering the mechanisms that blocks the new ways of feeling and of production of subjectivity.To develop this discourse, we lean foremost on the concept of: the esthetic ideas of Deleuze-Guattari; the psychodynamic approach to subjectivity and the sensitive ways to deal with the otherness of thought of Suely Rolnik; the reformulation of the anthropophagic tradition according to the Anthropophagous manifesto by Oswald de Andrade; the theory of perspectivism; and the Amerindian myth by the anthropologist Viveiros de Castro. In this sense, in order to increase the critical power of the body and other ways of existence concerning the hybridization of the world, we propose the thinking of performing art as a hybrid paradigm of some another modernity. The way of creation, the resistance and the knowledge of the performer show a critical attitude and a heterogenetic dynamic, an alter-action of himself and of the world itself, which is very similar to the old anthropological matrix of anthropophagy. The performer, then, affirms the possibility of the emergence of another modernity, possibly linked to another kind of hybrid world, an animistic and completely anti monotheist world, which understands life as devouring, as immanence of the danger and imminence of the meaning. A world where social solidarity is defined by otherness and where the indian cogito would be « it exists, therefore it thinks ».

[pt] Esta dissertação mapeia relações entre o movimento antropofágico e o movimento eugenista no contexto entreguerras no Brasil. A eugenia, ciência do aprimoramento da raça, predominava nos meios científicos mundiais e nacionais, enquanto a Antropofagia representava, no campo cultural, uma ampliação e amadurecimento ideológico do modernismo brasileiro. Assim como na geração de 1870, que buscou interpretar o Brasil através da aplicação de preceitos científicos na crítica literária, na geração de 1920 as questões culturais e raciais retornaram com mesmo léxico. A intelectualidade letrada e científica do país, impulsionada por um surto de modernização do Estado (maximizado ao fim da primeira guerra), ganhou um novo fôlego para reverter a imagem do Brasil como uma nação atrasada, devido às alegações fatalistas sobre o clima, a miscigenação e a herança colonial. Simultaneamente, pensava-se em resolver a falta de coesão entre os elementos étnicos, intensificada após uma larga imigração europeia. Através da análise do periódico paulista, Revista de Antropofagia, e de seus suplementos literários em outros estados (pouco considerados pela crítica), é possível perceber que ambos os grupos, com perspectivas heterogêneas e até divergentes internamente, encontraram uma confluência ao debater a formação de uma raça brasileira essencialmente mestiça, forte e original, dotada de uma unidade moral e espiritual. Tal aproximação entre a Antropofagia e a eugenia colabora para a compreensão dos motivos pelos quais a valorização da herança negra e ameríndia dentro da brasilidade modernista (absorvida pelo Estado a partir de 1930), longe de ter rompido com os preconceitos raciais, culminou na legitimação de um modelo peculiar de neutralização das alteridades através da devoração. / [en] This dissertation maps the relations between the Antropophagy(Anthropophagic Movement) and the Eugenics Movement in Brazilian interwar context. Eugenics, is the science of racial improvement, predominated in bothglobal and national scientific circles, while Anthropophagy represented, in thecultural field, an expansion and ideological maturation of Brazilian Modernism s.Similar to the generation of the 1870s, which sought to interpret Brazil through the application of scientific principles in literary criticism, in the 1920s, cultural and racial concerns resurfaced with the same lexicon. The country s literary and scientific intelligentsia, driven by a modernizing surge from the State (which was maximized after the First World War), gained new impetus to reverse the image of Brazil as a backward nation due to fatalistic claims about the climate,miscegenation, and colonial heritage. Simultaneously, there was a desire to address the lack of cohesion among ethnic elements, intensified after a significant European immigration. Through the analysis of the São Paulo s literary journal Revista de Antropofagia and its literary supplements in other states (often overlooked bycritics), it is possible to perceive that both groups, with heterogeneous and eveninternally divergent perspectives, found a confluence when discussing the formation of a Brazilian race that is essentially strong, miscegenation-driven, and endowed with moral and spiritual unity. This convergence between Anthropophagy and eugenics contributes to the understanding of why the valorization of Black and Amerindian heritage within Modernism s Brazilianness (incorporated by the Statestarting from 1930) far from breaking with racial prejudices, culminating in the legitimation of a peculiar model of neutralizing otherness through devouring.