Artistic training from the point of view of a student is considered to be a solid process in which impacts of different educational institutions interflow. The research material and report on the educational process participants', teachers' of art block attitude toward artistic activity allows to define and evaluate organizing forms and methods of artistic training and a positive attitude on artistic activity stimulation opportunities.

Notre thèse se propose d’étudier l'activité artistique contemporaine au tournant du XXIe siècle par le prisme de l’antagonisme entre travail et paresse. Le travail, autant que la professionnalité, la production et la monstration, par exemple, mais aussi la paresse, l’amateurisme, le dilettantisme ou encore le désœuvrement sont des notions qui questionnent l'activité artistique et que les artistes questionnent. Elles renvoient à la place de l'artiste dans la société, à la liberté et l'oisiveté créatrice que les représentations sociales et culturelles lui confèrent, à son activité comme travail non aliéné, modèle potentiel d'activité humaine. Il s’agit de comprendre l'art dans son étymologie (ars, artis : manière d'être, manière d'agir), de s’attacher aux œuvres d'art comme aux pratiques, aux gestes comme aux processus afin de pointer les enjeux de l’œuvre et de sa représentation, des images et statuts des artistes, du temps et de l'espace de la pratique, des conditions et régimes de celle-ci. / Our thesis proposes to study contemporary artistic activity at the turn of the twenty-first century by the prism of the antagonism between labour and laziness. Labour, as well as professionalism, production and demonstration, for example, but also laziness, amateurism, dilettantism or even idleness, are notions that question artistic activity and that artists question. They refer to the place of the artist in society, the freedom and creative idleness that social and cultural representations confer on him, his activity as a non-alienated work, a potential model of human activity. It is about understanding art in its etymology (ars, artis: way of being, way of acting), to attach ourselves to the works of art as to the practices, the gestures as the processes in order to point the issues of the work and its representation, the images and status of the artists, the time and space of the practice, the conditions and the regimes of this.

The environment that surrounds us influences everybody who is inside it. However human also influences the environment, also the aesthetic environment. In the school as in the educational institution this interaction also exists. Aesthetical environment, aesthetics can not be separated from art. The notions of beaty and harmony combines them. So it is important to understand how the influence of aesthetic environment of a school comes out to the student and to his artistic activities. The aesthetic environment of a school is seductive, harmoinious environment formed by the people who work here and which satisfies their needs, the understanding of beauty and becomes a part of intercourse- its background. The artistic, aesthetic functions of the environment of a school are raised as the particular manifestations which develope student‘s personality and aesthetic taste, also as the manifestacions of peculiar microculture. So one of the conditions of the stirring up of the education is beatiful, aesthetic and comfortable evnironment. So the opening of the features by which the connections between the aesthetic environment of a school and student‘s artistic activity can exist and can be urgent is the urgent pedagogic problem. The aim of the investigation- to single out the features of the aesthetic environment of a school and also the features of student‘s artistic activity connections. The object of the investigation- the connections between the aesthetic environment of a school... [to full text]

Vaikų kuriamas menas vis dažniau sulaukia visuomenės dėmesio. Ne taip seniai į vaikų piešinius žiūrėta kaip į nereikšmingus, netobulus pirmuosius kūrybinius bandymus. Tačiau ilgamečių tyrimų dėka ir žymiems dailininkams ( P.Picasso, P.Klee, V. Kandinsky ir kt.) ėmus imituoti vaikiškų įvaizdžių paprastumą ir vaikiškus gebėjimus, į vaikų vaizdinę raišką imta žiūrėti jau kitu žvilgsniu. Kilus susidomėjimui vaikų dailės kūriniais ėmė rastis vaikų meną propaguojančios ir vaikų meninę veiklą skatinančios įstaigos – vaikų meno galerijos. Šiuo metu Lietuvoje veikia trys: Druskininkų vaikų dailės galerija, Vilniaus vaikų ir jaunimo meno galerija ir M.K.Čiurlionio menų gimnazijos galerija „Mūza��. Jose vaikų meno eksponavimui yra skiriamas pagrindinis dėmesys. Šio darbo tyrimo tikslas yra nustatyti vaikų dailės kūrinių eksponavimo įtaką vaiko meninei veiklai. O tyrimo objektas yra vaikų dailės kūrinių eksponavimas kaip meninę veiklą skatinantis veiksnys. Tikslui pasiekti buvo suformuluoti šie tyrimo uždaviniai: 1. Išanalizuoti ir apibendrinti literatūrą nagrinėjama tema. 2. Atskleisti vaikų meno tyrinėjimų kryptis ir tendencijas bei pagal tai aptarti vaikų vizualinės raiškos ypatumus. 3. Išanalizuoti kaip kuriamos meno kūrinių ekspozicijos šiuolaikiniuose dailės muziejuose ir apibūdinti vaikų meno eksponavimo specifiką. 4. Ištirti Lietuvos vaikų meno ekspozicijoms skirtų galerijų veiklą: pristatyti vaikų meno galerijų veiklos pobūdį, išanalizuoti jų tikslus, veiklos gaires ir... [toliau žr. visą tekstą] / Art of children becomes more and more interesting to our society. Not so long ago about children drawings were thought just as an irrelevant and unhandy creative try. But during long lasting scientific researches and famous artists (such as P.Klee, P.Picasso, V.Kandinsky and others) trying to imitate children drawing images that view had changed. At that time started activity such institutions in which art of children and artistic activity are propagated and stimulated. Now in Lithuania there are three children‘s art galleries – Children art gallery in Druskininkai, Vilnius art gallery for Children and Youth and „Muse“ (art gallery in M.K.Čiurlionis school of arts). The purpose of the research is to ascertain how children art exhibition is influencing their artistic activity. The object of this work is children art exhibition as an artistic activity stimulating factor. To reach the purpose were formulate such tasks: 1. To analyze and summarize the literature on that topic; 2. To educe the tendencies of the researches on children art and to consider children art singularity; 3. To analyze how exhibitions are made in modern art museums and to characterize the particularity of children art; 4. To explore the activity of Lithuanian children art galleries. After research were made hypothesis, that children art exhibition is influencing their artistic activity, were certified. To ascertain the influence of children art exhibition to their artistic activity were used analysis of... [to full text]

Made available in DSpace on 2016-04-28T18:23:56Z (GMT). No. of bitstreams: 1 Elaine Hernandez de Souza.pdf: 2581860 bytes, checksum: 529a8847b31dd0ecbe9a207367a1b11e (MD5) Previous issue date: 2008-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research intends to identify the discourses on the artistic activity in the verbo-visual composition of the fable The Cicada and the Ants , by Monteiro Lobato and its illustrators, recouping, from the Brazilian version, the versions of Aesop and La Fontaine, in order to establish an interdiscursive relation among them. During the process of survey and selection of the corpora, we took into consideration, among other factors, the diversity in the spheres of production and circulation of the variants of this same fable, as well as their intertextual relation. Our research is divided in three stages. We started by surveying the history of that artistic activity, based upon concepts of act/activity, genre of discourse and genre of activity. In the following stage, we discussed the characterisation of the fable as a discursive practice for the construction of the proposed theme and, finally, we analyzed the discursive verbo-visual materiality of Lobato, La Fontaine and Aesop s texts in order to, then, establish the dialogical relations among them. At the end of this research, the study concerning the representation of the artistic activity in the fable The Cicada and the Ants shows its relevance in the measure it makes possible not only the rescue of those memory and identity of the Brazilians of the first half of the 20th Century but also points ways to the understanding of other social, historical, cultural values represented in this fable, although not considered in this project / Esta pesquisa pretende identificar os discursos sobre a atividade artística na composição verbo-visual da fábula A cigarra e as formigas , assinada por Monteiro Lobato e ilustradores, recuperando, a partir da versão brasileira, as versões de Esopo e de La Fontaine, a fim de estabelecer a relação interdiscursiva entre elas. No processo de levantamento e seleção dos corpora, levamos em consideração, dentre outros fatores, a diversidade nas esferas de produção e de circulação das variantes dessa mesma fábula, bem como a relação intertexual entre elas. Nossa investigação se divide em três etapas. Iniciamos com um levantamento histórico da atividade artística, embasado nos conceitos de ato/atividade, de gênero do discurso e de gênero da atividade. Na etapa seguinte, tratamos da caracterização da fábula como prática discursiva na construção da temática proposta e, finalmente, analisamos a materialidade verbo-visual discursiva dos textos de Lobato, La Fontaine e Esopo, para, então, estabelecer as relações dialógicas entre eles. Ao final da pesquisa, o estudo da representação da atividade artística na fábula A cigarra e as formigas mostra sua relevância na medida em que ele possibilita o resgate não apenas da memória e da identidade dos brasileiros da primeira metade do século XX, como também aponta caminhos para a compreensão de outros valores sócio-histórico-culturais representados nessa fábula, valores estes que não foram contemplados neste trabalho