Made available in DSpace on 2016-04-28T20:57:51Z (GMT). No. of bitstreams: 1 Dissertacao Carlos Fuser.pdf: 998664 bytes, checksum: 41f0e30484ac5d3e6af4d0fc78f9a496 (MD5) Previous issue date: 2005-06-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents a research about the meaning that have, for the students, the activities of drawing carried through in the lessons of Art. Observations of lessons of Art in Basic Education classrooms had been carried through in a municipal school in the periphery of São Paulo. The research included colloquies with students and a press conference of the researcher with a group of sixth series where the students had produced small texts, beyond interviews with the teacher of Art, the pedagogical coordinator, the director and the vice-director, and, also, the observation of activities and workmanships of students in the common area of the school. The data-collecting and the analysis had followed the parameters of the Phenomenological qualitative research and, for the interpretation, the main theoretical reference were the phenomenology of the existence of Merleau-Ponty. It was concluded with the verification of that the meaning lived for the students in its activities in the lessons of Art say respect to the pertaining to school context, to the attitudes of the teacher and to the considered artistic creation as a phenomenon that is configured in the social world. "Anti-art" meaning had been shown, as the bureaucratic meaning to draw to get notes, the meaning to draw to prevent rebukes, beyond activities directed in the direction attacking the teacher. But they had predominated, in the activities of the children, different felt identified with the art, such as the search of an expressive artistic creation and the intention to show the workmanship for other people. It had shown either the sense of get the approval and the shelter on the part of the teacher and familiar. And had emerged the directions of art lessons as playful activity, as preparation for a professional activity, as exercise of the freedom and the revolt and, also, the artistic activity as freedom and cure of limitations and existencial sufferings. / Esta dissertação apresenta uma pesquisa sobre os sentidos que têm, para os alunos, as atividades de desenho realizadas nas aulas de Arte. Foram realizadas observações de aulas de Arte em classes do Ensino Fundamental, em uma escola municipal na periferia de São Paulo. A pesquisa incluiu conversas com alunos e uma entrevista coletiva com uma turma da 6a. série, em que os alunos produziram pequenos textos, além de entrevistas com a professora de Arte, a coordenadora pedagógica, o diretor e a vice-diretora, e, também, a observação de atividades e obras de alunos no pátio da escola. O levantamento de dados e a análise seguiram os parâmetros da pesquisa qualitativa fenomenológica e, para a interpretação, a principal referência teórica foi a fenomenologia da existência de Merleau-Ponty. Concluiu-se com a verificação de que os sentidos vividos pelos alunos nas suas atividades nas aulas de Arte dizem respeito ao contexto escolar, às atitudes da professora e à criação artística como fenômeno que se configura no mundo social. Revelaram-se sentidos anti-arte , como o sentido burocrático de desenhar para obter notas, o sentido de desenhar para evitar repreensões, além de atividades dirigidas no sentido de agredir a professora. Mas predominaram, nas atividades das crianças, diferentes sentidos identificados com a arte, tais como a busca de uma criação artística expressiva e a intenção de mostrar a obra para outras pessoas. Desvelou-se também o sentido de obter a aprovação e o acolhimento por parte da professora e de familiares. E emergiram os sentidos de aulas de arte como atividade lúdica, como preparação para uma atividade profissional, como exercício da liberdade e da revolta e, também, da atividade artística como libertação e cura de limitações e sofrimentos existenciais.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2016-05-10T11:51:29Z No. of bitstreams: 1 FELIPE ALVES PEREIRA ADAID.pdf: 2685517 bytes, checksum: c6766aea86db2181c29cf63074a04491 (MD5) / Made available in DSpace on 2016-05-10T11:51:30Z (GMT). No. of bitstreams: 1 FELIPE ALVES PEREIRA ADAID.pdf: 2685517 bytes, checksum: c6766aea86db2181c29cf63074a04491 (MD5) Previous issue date: 2016-02-19 / The present study has as its object the Legal Education. In relation to general objective, matter the discussion on the state of the art in the Legal Education, with the purpose to identify their theoretical trends, so the question which gives essence to these thesis can be formulated: based on state of the art research, how to think the comparative analysis of the theoretical trends on the Legal Education in Brazil from 2004 to 2014? Thus, are specific objectives of the research the analysis of the theoretical basis of theses and dissertations published in the last 10 years which discuss the Legal Education. Thus, were identified and mapped its theoretical, analyzed their works and related to each other. The search method, then, was the bibliographical review of the researches of Postgraduation bounded by the State of the art and the works that give theoretical foundation. Specifically about the method, it?s worth mentioning that the theses and dissertations will be searched using the database of the Digital Library of Theses and Dissertations, by means of descriptors that will represent the best research related to Legal Education, namely: Legal Education, Legal Education, Law Course, Law School and, finally, Law School. Moreover, established the result of theses and dissertations relating to the theme and the proposed period, the method followed by the qualitative analysis of their references, in order to identify which authors have been more used in same surveys. Furthermore, in relation to the theoretical framework of the thesis, it can be said that is related to the authors resulting from State of Art analysis: Horacio Wanderlei Rodrigues, Luis Alberto Warat, Jos? Eduardo Faria, Eduardo Carlos Bianca Bittar and Roberto Lyra Filho. In relation to the structure of the thesis, it is possible to affirm that she was divided into three chapters, which are initially dealing with the issue of the State of the art, by presentation of its concept, in addition to detailing of the research method and also the general analysis of the result; in sequence, the works related will be categorized in two distinct groups of authors, which are the ones that don?t relate to the Legal Education and those who have a direct relationship with him; finally, the last chapter will present even more specific the principal authors of the category of Legal Education, as well as their works, still in this chapter, shall be performed a relation between the authors more referenced in the researches, in an attempt to find elements to sustain its influence to the discussion of the Legal Education. / A presente pesquisa teve como o objeto o Ensino Jur?dico. Em rela??o ao objetivo geral importa a discuss?o do Estado da Arte no Ensino Jur?dico, com a finalidade de identificar suas tend?ncias te?ricas, dessarte, a pergunta que deu ess?ncia ? disserta??o p?de ser, pois, formulada: com base na pesquisa do tipo Estado da Arte, como pensar a an?lise comparativa das tend?ncias te?ricas sobre o Ensino Jur?dico no Brasil de 2004 a 2014? Sendo assim, foram objetivos espec?ficos da pesquisa a an?lise da base te?rica de teses e disserta??es publicadas nos ?ltimos 10 anos as quais discutem o Ensino Jur?dico. Desta feita, foram identificados e mapeados seus te?ricos, apreciadas suas obras e relacionadas entre si. O m?todo de pesquisa, ent?o, foi o da revis?o bibliogr?fica das pesquisas de P?s-Gradua??o delimitadas pelo Estado da Arte e das obras que lhe deram baldrame te?rico. Especificamente ainda sobre o m?todo, n?o obsta ressaltar que as teses e disserta??es foram pesquisadas por meio do banco de dados da Biblioteca Digital de Teses e Disserta??es, por meio de descritores que representaram a melhor busca relacionada ao Ensino Jur?dico, quais sejam, Educa??o Jur?dica, Ensino Jur?dico, Curso de Direito, Ensino do Direito e, por fim, Ensino de Direito. Ademais, estabelecido o resultado das teses e disserta??es relativo ao tema e ao per?odo proposto, o m?todo seguiu por meio da an?lise qualitativa de suas refer?ncias, de forma a identificar quais autores t?m sido mais utilizados nas mesmas pesquisas. Outrossim, em rela??o ao referencial te?rico da disserta??o, pode-se dizer que est? relacionada com os pr?prios autores resultantes da an?lise do Estado da Arte, sendo eles: Hor?cio Wanderlei Rodrigues, Luis Alberto Warat, Jos? Eduardo Faria, Eduardo Carlos Bianca Bittar e Roberto Lyra Filho. Em rela??o ? estrutura da disserta??o, foi poss?vel afirmar que ela se dividiu em tr?s cap?tulos, quais sejam, inicialmente a tratar da quest?o do Estado da Arte, pela apresenta??o de seu conceito, al?m do detalhamento do m?todo de pesquisa e tamb?m da an?lise geral do resultado; na sequ?ncia, as obras relacionadas foram categorizadas em dois grupos distintos de autores, quais sejam, aqueles que n?o se relacionavam com o Ensino Jur?dico e aqueles que tinham rela??o direta com ele; por fim, o ?ltimo cap?tulo apresentou de forma ainda mais espec?fica os principais autores da Categoria do Ensino Jur?dico, bem como suas obras, ainda neste cap?tulo, foi realizada uma rela??o entre os autores mais referenciados nas pesquisas, na tentativa de encontrar elementos que sustentem sua influ?ncia ? discuss?o do Ensino Jur?dico.

Faculty of Education. Includes bibliographical references (leaves 194-222)

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 213-220).

John Dewey’s Art as Experience (1934) declares art to be the “incomparable organ of instruction” on the third to last page of the book. This dissertation analyzes the place of children within the aesthetic philosophy Dewey expresses in the text and what the implications of Art as Experience could mean if applied to the art-making of children as the foundation for developing kindergarten and elementary curriculum. By exploring Dewey’s earlier writings on education and art, the dissertation develops a view of how art-making could be applied in a Deweyan pedagogy. The main influences on Dewey’s aesthetic development are explored including the frequently overlooked influence of F. Matthias Alexander. Particular emphasis is given to Dewey’s relationship with Albert Barnes and Dewey’s place in the Barnes Foundation as the Director of Education. The writings of Barnes and Dewey’s three associate directors of education are considered for their possible influence on Dewey’s aesthetic development as it applies to establishing a Deweyan philosophy of art-based education. A selection of the initial reviews of Art As Experience from 1934 and 1935 are analyzed to establish the reception of the book. The contentious arguments that Dewey and Benedetto Croce exchanged in print from the late 1940s until both men’s deaths are explored for what they reveal about Dewey’s view of intuition in art-making. A selection of contemporary writers’ views on Dewey’s aesthetics are considered as well as the conclusions of the 1989 University of Illinois Symposium on the influence of Art as Experience. The dissertation concludes by isolating twenty concepts from Art as Experience and considering their meaning as the foundation on which kindergarten and elementary curriculum could be formed. The guidelines are built upon 76 passages from Art as Experience and establish John Dewey as a dominant influence in the formation of Art Education. / text

The purpose of this research study was to explore how the significance of place serves as a part of Indigenous—specifically Diné (Navajo)—education cultural responsiveness in the art classroom. Further, objectives of the study included learning how North American art teacher educators can more effectively weave Indigenous understandings of place into pre-service art teacher education to benefit Indigenous learners' needs. I employed a qualitative approach to this study using multiple methodologies: ethnography, phenomenology, an Indigenous research methodology, and arts-based research. Through personal interviews with six participants—two Diné artists, two art teacher educators, and two unfamiliar art teachers new to reservation-serving schools—I sought to locate culturally situated perspectives and values. The goal of the interviews was to gather ideas about the significance of place, about relationships between place and art, and about art teacher preparation for teaching in Diné-serving schools. The design of the study also included new unfamiliar non-Diné art teacher preconceptions and in-situ learning experiences of teaching on the reservation. Beyond the participant interviews, I engaged an arts-based exploration of my experiences with Diné people as an outsider/insider member of the Diné community. The artwork I created also helped weave together data from participant interviews. Findings from the Diné artist participants suggested that places hold significance in Diné culture, art making, and the display or use of art. According to Diné epistemological perspective, place is more than just a physical location, and different from some mainstream ideas about place. For Diné interviewees, place is a container of aspects of life such as energies, nature, spirits, people, and a multitude of other significances, some tangible and some intangible. Findings from interviews with art teacher educators of other Indigenous groups also indicated that place is significant to many Native American peoples, and the idea of that significance is difficult to transmit to Euro-American pre-service teachers. Interviews also indicate that focusing teaching education on social justice theories and employing Native American art and artists can assist in the preparation of pre-service art teachers to teach in reservation or pueblo communities. However, there are deeply rooted cultural concepts that come into play once the new teacher reaches her/his teaching assignment community. Lastly, findings revealed that new unfamiliar art teachers experience a number of obstacles upon entering Diné communities when their prior understandings about the place is limited. Challenges include understanding acceptable cultural observances, student proclivities, and art making practices. Understanding significance of place, stereotyping concerns, and positionality challenges are among the themes that arose as a result of cross-participant analyses. The implications of this research study advocate for: a) building further knowledge about educating pre-service teachers about cultural relevance, stereotyping, and positionality in Native American-serving art classrooms; b) the need for continued cultural learning and mentoring in-situ; and c) the need for unfamiliar art teachers to develop culturally relevant teaching practices with the help of people in the community.

The practice of displaying young children’s visual artwork in early childhood classrooms poses a number of questions about the child and his or her work. Following Giorgi’s approach to phenomenological research, this thesis focused on children’s lived experiences of art display. 13 children between the ages of 4 and 6 years attending an independent school outside metropolitan Detroit, Michigan (USA) disclosed their experiences of seeing their artwork on display. Dr Boone’s study revealed that, despite clear evidence of children’s strong views, decisions about the display of artwork continue to rest with adults.

Submitted by LUDMILA LEE CASTILLO null (ludmilee2@gmail.com) on 2016-08-17T05:12:03Z No. of bitstreams: 1 dissertação ludmila completa português.pdf: 3649670 bytes, checksum: 7a1434e1caa7ecfbc457f013fdf3d305 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-18T13:52:50Z (GMT) No. of bitstreams: 1 castillo_ll_me_ia.pdf: 3649670 bytes, checksum: 7a1434e1caa7ecfbc457f013fdf3d305 (MD5) / Made available in DSpace on 2016-08-18T13:52:50Z (GMT). No. of bitstreams: 1 castillo_ll_me_ia.pdf: 3649670 bytes, checksum: 7a1434e1caa7ecfbc457f013fdf3d305 (MD5) Previous issue date: 2016-06-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A Arteducação em Cuba é um campo ainda a ser definido e aprofundado. Seu surgimento está relacionado ao contexto de liminaridade da ilha a partir dos anos noventa. É neste período que se torna visível um esvaziamento do conceito do político, provocado pela operação do dispositivo da institucionalização. Para quebrar a ação do mesmo, se usaram as práticas arteducativas como táticas profanadoras. Elas se distinguem pela presença do político, reativando novas configurações do ser e do agir. Nesse sentido, a dissertação pretende refletir a partir de uma experiência arteducativa juvenil acontecida na ilha entre 2008-2013 e à luz da perspectiva contemporânea, sobre a incidência do político na ressignificação da condição ética de seus participantes. / La Arteducación en Cuba es un campo en definición. Su surgimiento está relacionado al contexto de liminaridad de la isla a partir de los años noventa. Es en este período que se visibiliza un vaciamiento del concepto de lo político, provocado por la operación del dispositivo de la institucionalización. Para romper la acción del mismo, se emplearon las prácticas arteducativas como tácticas profanadoras. Ellas se distinguen por la presencia de lo político, reactivando nuevas configuraciones del ser y el actuar. En ese sentido, la disertación pretende reflexionar a partir de una experiencia arteducativa juvenil acontecida en la isla entre 2008-2013 y a la luz de la perspectiva posmoderna, sobre la incidencia de lo político en la resignificación de la condición ética de sus participantes. / The Art-education in Cuba is a field still in definition. Their emergence is related to the context of liminality lived on the island from the nineties. It is in this period that made visible an emptying of the concept of the political, caused by the operation of the device of institutionalization. To interrupt the action of this, were employed the art-educative practices as desecrator tactics. They are distinguished by the presence of the political, reactivating new configurations of being and acting. In that sense, the dissertation aims to reflect, from the youthful experience art-educative that took place on the island between 2008-2013 and in the light of the perspective postmodern, on the incidence of the political in the redefinition of ethics condition of its participants. / CNPq: 190377/2013-5

A dissertação A Escola Municipal de Belas Artes de Caxias do Sul: histórias e memórias (1949 a 1967) conta parte da história da Escola Municipal de Belas Artes de Caxias do Sul no período compreendido entre os anos de 1949, ano de sua criação, a 1967, quando foi, juntamente com outras faculdades, integradas para compor a Universidade de Caxias do Sul. O objetivo central da pesquisa foi o de narrar uma parte significativa de seu processo de criação e dinâmica de organização, a partir de sua institucionalização, seu estabelecimento como instituição e desenvolvimento. Na tessitura do estudo, a História Cultural fundamentou teoricamente as análises produzidas a partir de documentos diversificados, encontrados dispersos em um conjunto de locais e acervos, tais como jornais, fotografias, relatórios e atas. Portanto, os procedimentos metodológicos foram os da análise documental. Na organização da escrita optei por escrever o processo histórico seguindo certa cronologia. O estudo foi dividido em três capítulos. O primeiro capítulo narra como a cidade de Caxias do Sul se constituiu, aspectos do processo imigratório que contribuíram para a compreensão das questões culturais da cidade, a educação e a arte e a busca da modernização. Identifiquei dois sentimentos neste processo. Um na chegada do colonizador e, portanto a ingenuidade de que não seria tão difícil o estabelecimento na nova terra e outro que ao perceber as dificuldades o espírito de luta e conquista garantiu a sobrevivência nesta nova terra. O segundo capítulo apresenta os movimentos em torno da fundação da escola, seus protagonistas, a cidade como receptáculo deste espaço e a receptividade da população, a presença de uma força política administrativa muito grande. A escola não foi “abraçada” pela Igreja. Foi a Prefeitura Municipal que criou legislação própria, identificou, respeitando as especificidades do ensino da arte. No terceiro capítulo a EMBA se torna um curso de nível superior e, além de participar na constituição da Universidade de Caxias do Sul, assume papel fundamental na irradiação da arte e da cultura em Caxias do Sul. A EMBA foi bem acolhida e estimulada pela sociedade que a entendeu como pertinente. A participação na escola e o ensino da arte foram considerados um diferencial na construção dos saberes. A EMBA representa a memória de uma parte da história da Educação em Caxias do Sul em especial o ensino superior. A criação de uma instituição de ensino de arte estimulou o acesso e a fruição ao universo da arte na metade do século XX em Caxias do Sul. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-30T12:57:32Z No. of bitstreams: 1 Dissertacao Liliane Maria Vieiro Costa.pdf: 7993248 bytes, checksum: d66c654790d71db39a64c6b79cb07b49 (MD5) / Made available in DSpace on 2014-05-30T12:57:32Z (GMT). No. of bitstreams: 1 Dissertacao Liliane Maria Vieiro Costa.pdf: 7993248 bytes, checksum: d66c654790d71db39a64c6b79cb07b49 (MD5) / The Municipal School of fine arts of Caxias do Sul: stories and memories (1949 to 1967) dissertation, investigated the history of the Municipal School of fine arts of Caxias do Sul in the period between the years of 1949, the year of its creation, and 1967, when it was, along with other colleges, incorporated to form the University of Caxias do Sul. The central objective of the research is to narrate a significant part of its building process and dynamic organization, from its institutionalization until its establishment as an institution and its development. The Cultural History bases the analyses produced from diverse documents, found dispersed in a set of locations and collections, such as newspapers, photos, reports and minutes, which helps to compose the tessitura of this study. Therefore, the methodological procedures were documental analysis. A certain chronology has been chosen to describe the historical process. The study was divided into three chapters. The first chapter tells how the city of Caxias do Sul was formed, how its immigration process contributed to the understanding of cultural issues, education, art and the pursuit of modernization. It could be identified two things in this process. First, the arrival of the colonizers and their ingenuity that it wouldn’t be so difficult to establish in the new land .The other was that realizing the difficulties, the fighting spirit guaranteed their survival in this new land. The second chapter presents the movements around the foundation of the school, its protagonists, the city as a receptacle of this space and the receptivity of the population, the presence of a very large administrative politic force. The school was not "embraced" by the Church. Was the municipality that has created its own legislation, respecting the specificities of identified School of art. In the third chapter the EMBA becomes a higher level course and, besides participating in the Constitution of the University of Caxias do Sul, takes a key role in irradiation of art and culture in Caxias do Sul. The EMBA was welcomed and encouraged by the society that understood it as relevant. Participation in school and the teaching of art were considered as differential in the construction of knowledge. The EMBA represents the memory of a part of the history of education in Caxias do Sul, higher education in particular. The creation of an educational institution of art stimulated the access and enjoyment to the universe of art in the mid-20th century in Caxias do Sul.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T10:48:51Z (GMT). No. of bitstreams: 1 Nucci_Angela_M.pdf: 7815232 bytes, checksum: 25b80efe49c9c1047077c0c6b988ee38 (MD5) Previous issue date: 2009 / RESUMO: A obra de Kazímir Sievierínovitch Maliévitch (1878-1935) compõe um dos relatos mais significativos que se relacionam tanto ao declínio das concepções tradicionais da arte e a eclosão das vanguardas modernistas quanto ao confronto entre as diversas tendências ideológicas que marcaram a Rússia nas primeiras décadas do séc. XX. Nesse sentido, a importância de sua obra não está encerrada em um nível estritamente artístico, mas que se estende a um quadro coerente aos ideais revolucionários do período, os quais garantiam aos artistas um papel de destaque na construção da nova sociedade soviética. Quase como uma regra, após a Revolução de 1917, os artistas da vanguarda russa buscaram criar no interior das instituições de arte parâmetros científicos de pesquisa, fruição e análise das formas artísticas, ou em outras palavras, a sistematização do conhecimento artístico. A Teoria do elemento adicional em pintura criada por Maliévitch foi o eixo de seu método pedagógico. Com base em uma consistente produção teórica e prática realizada ao longo de sua vida, Maliévitch elaborou um modelo capaz de analisar diferentes culturas pictóricas do início do século XX, propondo a desmistificação do processo criativo em resposta ao suposto caráter inacessível da arte moderna, produção relevante até os dias de hoje, de interesse tanto no âmbito da história da arte como da educação estética. / ABSTRACT: The work of Kazimir Severinovich Malevich (1878-1935) makes up one of the most significatives accounts that relate not only to the fall of the traditional concepts of art and modernist vanguards birth, but also to the confrontation amongst the ideological strains which marked Russia in the first decades of the XX century. In this sense, the importance of his work is not restrained to an estrictly artistic sense, but it extends to a consistent to the period revolutionary ideals one, which vouched the artists a prominent role in the construction of the new soviet society. Almost as a rule, after the 1917 Revolution, the Russian vanguard artists pursued the creation of scientific research parameters within the art institutions, or, in short, the artistic knowledge systematization. The Theory of additional element in painting created by Malevich was the core of his pedagogical method. Based in a sound theoretical and practical production made on the course of his life, Malevich engendered a model capable of analyze different pictorical cultures of the XX century beginning, proposing the creative process desmistification in respond to the assumed unattainable form of the modern art, a production pertinent to this day, of concern not just in the art history realm, but in aesthetical education also. / Mestrado / Historia da Arte / Mestre em História