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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Německá koncepce uměleckého vzdělávání v teorii a praxi / German conception of artistic education in theory and practice

Kroutil, Jan January 2018 (has links)
This diploma thesis seeks above all to introduce the German concept of artistic education into the context of the Czech art education and to compare it with some of the didactical tendencies within this field. Based on the analysis of German and English publications, firstly the pivotal theoretical influences of the concept are introduced, and then its specifics, educational methods and goals are described. The theoretical section is concluded by examples of practical approaches using the described concept in the field of German school praxis. The empirical-practical section, that is based on the author's personal experiences gained during Erasmus studies in Germany (Karlsruhe, University of Education, Institute of Art), introduces how the concept is being applied during the training of university students, in particular on the level of the artistic and pedagogical praxis. This section also contains a reflection of the concept of artistic education's influence on the author's own artistic work. The second section concludes by analysing two student projects in a German school, applying the methods of artistic education, and outlines how these projects could be improved. At the end of the thesis the results of the theoretical, empirical and practical sections are summarized and evaluated. Questions...
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Formação cultural: arte e cultura convertidas em instrumentos da preparação para o trabalho / Formation: art and culture converted on tools of preparation to work

Franco, David Budeus 24 February 2014 (has links)
Made available in DSpace on 2016-04-27T16:32:54Z (GMT). No. of bitstreams: 1 David Budeus Franco.pdf: 1169649 bytes, checksum: 8bce1a405900125f5886e74e846529cf (MD5) Previous issue date: 2014-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study treats about formation offered by two schools, one from public system of Minas Gerais s State and one from private system. The central objective from this research was to identify and to analyze how are defined tasks and the functions of school, based on appreciation on cultural and artistic activities, beyond this, to identify and to analyze how are produced diagnosis, defined educational objectives and actions to equalize the educational daily troubles regarding on formation. The hypotheses of this research are uttered by: a) on analyzed documents there are an increasing tendency on school sphere to incorporate subjects related to cultural activities like a way to adapt school to historical context; and b) even if the changes are visible and cultural activities in schools has a serious propositions, predominates the formation directed to work. In order to verify these hypotheses, this work made an analysis on several documents made in a very different scope; first of all documents made on international scope, after others made on national scope, after what was time of state sphere, and, finally, on local sphere, wherein the documents was produced by schools. The results from this work were constructed by comparison through information extracted from analysis on distinct documents. The results obtained, largely, confirmed the initial hypotheses from this research. Based on Critical Theory, especially on Herbert Marcuse, on Theodor Adorno and on Max Horkheimer, this study shows the relationship among work s world and the fresh attempts to step up artistic and cultural activities at schools, these like an expression of transformation of the same activities in support to improve quality of contemporary education / Este trabalho trata da formação cultural oferecida por duas escolas, uma da rede estadual de educação de Minas Gerais e outra da rede privada. O objetivo essencial da pesquisa foi o de identificar e analisar como são definidas as tarefas e funções da escola tendo como referência a valorização das atividades culturais e artísticas, além de, identificar e analisar o modo como são produzidos diagnósticos, definidos objetivos educacionais e propostas de ações para o equacionamento dos problemas enfrentados pela escola referentes à formação cultural. As hipóteses da pesquisa são expressas nos seguintes termos: a) há, nos documentos analisados, a crescente tendência de destacar a necessidade de a escola incorporar conteúdos relacionados às atividades culturais como forma de adequar a escola ao contexto em que está situada; e b) ainda que as mudanças sejam evidentes e que as atividades culturais nas escolas tenham um sério propósito, predomina a formação voltada para o trabalho. A fim de verificar as hipóteses, este trabalho lançou mão de análises de diversos documentos produzidos em diferentes esferas, desde a internacional, passando pela nacional e estadual, até atingir a local, isto é, os documentos produzidos pelas próprias escolas. Os resultados da pesquisa foram produzidos no cotejamento das informações extraídas dos diversos documentos analisados. Os dados, em grande medida, confirmaram as hipóteses iniciais deste trabalho. Amparada na Teoria Crítica da Sociedade, principalmente em Herbert Marcuse, Max Horkheimer e Theodor Adorno, este estudo evidencia a proximidade entre o mundo do trabalho e as recentes tentativas de incrementar atividades culturais e artísticas nas escolas, isso como expressão da transformação de tais atividades em fatores fundamentais para a melhoria da qualidade da educação na contemporaneidade
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Competencia multicultural en educación artística. Contextos y perspectivas de futuro en la formación de las maestras y los maestros

Vallès Villanueva, Joan 28 June 2005 (has links)
Entendemos que desde el área de Educación Artística podemos trabajar el arte de cientos de culturas y en cualquier momento de la historia, un aspecto que nos permite sensibilizar al alumnado hacia la comprensión de las distintas manifestaciones que adquiere un mismo aspecto cultural, el arte, como fenómeno universal. Hemos centrado el objetivo principal de nuestra investigación en la exploración de los caminos y las posibilidades que nos ofrece la educación artística en relación a la diversidad (cultural, de clase, minusvalía, de edad, raza, de género, etc.).Partíamos de la percepción que, en el ámbito de la educación artística y de la cultura en general, existe una tendencia que describe los hechos artísticos y las prácticas estéticas a partir de unas categorías únicas y universalmente válidas. Estas provocan a menudo el olvido de algunos valores específicos y sobre todo la falta de reconocimiento de otras propuestas artísticas igual de interesantes (oficios artísticos, arte de las/os niñas/os, arte popular, artesanias, etc. Hemos buscado caminos que nos conduzcan a asumir una visión contemporánea del hecho artístico y una concepción incluyente del arte (diseño, indumentaria, decoración, artes funcionales, arte popular, arte de las mujeres, net art, gastronomia, etc.).Entendemos que la educación es el lugar desde donde avanzar hacia otra forma de mirar y comprender el mundo. Una visión que, desde el arte, facilite elementos para el encuentro y las relaciones sociales, donde la propia diferencia y la conservación "crítica" de las propias identidades culturales sean celebradas desde la convicción del verdadero enriquecimiento cultural.Estas consideraciones y la ausencia de un marco teórico previo que nos permitiera analizar, desarrollar y evaluar la perspectiva multicultural en la educación artística fueron la causa y la coyuntura para dirigir este trabajo hacia lo que podríamos llamar "educador artístico culturalmente competente" (Andrus, 2001). En esa perspectiva de comptencia es donde hemos ubicado nuestro trabajo, así como en las necesidades de formación de las maestras y los maestros, con la convicción de que cualquier mejora en la etapa educativa donde estos actúan, redundará en todo el proceso educativo. / We understand that since the area of Artistic Education we can work the art of hundreds of cultures and at any moment of the history, an aspect that permits us to sensitize all students towards the comprehension of the different demonstrations that acquires a same cultural aspect, the art, as a universal phenomenon. We have centred the main objective of our investigation on the exploration of the roads and the possibilities that artistic education offers us (cultural, class, disability, age, race, sex, etc.) in relation to diversity.We started from the perception that, in the scope of the artistic education and culture in general, a tendency exists that describes the artistic facts and the aesthetic practices from unique and universally valid categories. These often cause the omission of some specific values and mainly the lack of recognition of other interesting artistic proposals (artistic offices, children art, popular art, craftsmanship, etc). We have looked for ways that lead us to assume a contemporary vision of the artistic fact and an including conception of art (functional design, clothing, decoration, arts, popular art, art of the women, net art, gastronomy, etc.).We understand education as the place from where to advance towards another form to watch and to understand the world. A vision that, from the art, facilitates elements for the social encounter and relations, where the own difference and "the critical" conservation of the own cultural identities are celebrated from the conviction of the true cultural enrichment. These considerations and the absence of a previous theoretical frame that allowed us to analyze, develop and evaluate the multicultural perspective in the artistic education, were the cause and the conjuncture to direct this work towards what we could call "culturally competent artistic educator" (Andrus, 2001). In that perspective of competence is where we have located our work, as well as in the necessities of formation of our teachers, with the conviction that any improvement in the educative stage where these act, will result in all the educative process.
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O ensino de Educação Artística durante a Ditadura Civil – Militar Brasileira: impactos da legislação educacional / Art teaching during the Civilian-Military Brazilian Dictatorship: impacts of educational policies

Furlan, Elisangela 24 July 2015 (has links)
Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-04-04T13:52:17Z No. of bitstreams: 2 Elisangela_Furlan2015.pdf: 9870807 bytes, checksum: 2a3d87e5da80499877a935b41da70ae9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-04T13:52:17Z (GMT). No. of bitstreams: 2 Elisangela_Furlan2015.pdf: 9870807 bytes, checksum: 2a3d87e5da80499877a935b41da70ae9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-07-24 / On this work we would have as a point of invetigation the history of the Artistic Education on the middle of the historical, social and politicial context during the 1970s correlated with the artistic production of that time, same as the years that anteceed and subsequent to the “anos de chumbo” from the Civil-military Dictatorship on Brazil, in order to study the background to the creation of an authoritarian legislation for the educational field, in an era of censorship of artistic productions. As well, to undestand the role of the Law of Directives and Bases of Education, called 5692 /71, which interfered on the teacher training, with regard to vocational training, to meet the demand of developmental Brazil. The state policies look to, through the imposition, interfere in the process of educational training, favoring focusing on education policies, but only those that served to the national and foring business elite. This work has as property,to show the reaction of the civil society and from the educators facing the situations of repression from that time and the influence of military power over the subject in formation during the dictatorship, emphasisyn the means of artistic expression. To this end, it takes as a research corpus works of 1970s artists who, being dissatisfied with the reality of the time, expressed their ideas in protest works as an art that denounced the reality of military regime.Anyway, it has been focused on evidence knowledge about events relevant to the context of studies involving art education teaching during 1970s, that generated a state violence faced with the artist of the time. The first chapter talks about the antecedence of military coups, with the purpose of contextualize the military action and its consequences for education. The second addresses implementation of the law 5.692/71, as norms for the realization of an education in military molds and vocational training, On third chapter, the approch is about the teaching material produced under the dictatorial goverment, and the studied content and registered in class record books of 1970s and 1980s, of Colégio Estadual São Vicente de Paula Machado, de Nova Esperança – PR. Finally, an analysis has been made of the conducted research work, its implications and results, since such investigation concluded that teaching in Arts Education was applied to the school benches as contradictory teaching to the one it has been destinated, due to the direction given by the Civil-military Regime. / Este trabalho apresenta uma breve análise do contexto histórico, social e político do processo educacional da década de 1970 e a produção artística da época, bem como os anos que antecedem e sucedem ao que remete aos “anos de chumbo” da Ditadura Civil-militar no Brasil, com intuito de analisar os antecedentes da criação de uma legislação autoritária para o campo educacional, numa dada época que pressupõe censura às produções artísticas. Busca-se por compreender o papel da Lei de Diretrizes e Bases da Educação, denominada 5.692/71, que interferiu na formação docente, no que tange à formação profissional para atender a demanda do Brasil desenvolvimentista. Por sua vez, tais políticas despertaram o descontentamento de parcelas da população civil e da classe docente frente às situações de repressão a liberdade de opinião e pensamento, dos quais lutavam em desigualdade com a imposição do regime militar. As políticas estatais almejavam por meio da imposição, interferir em seu favor, no processo de formação educacional, construindo um falso consenso que privilegiava as políticas voltadas à educação, como ilusório destinado a todas as classes, mas que, no entanto, servia apenas a elite empresarial nacional e estrangeira. Prima-se por evidenciar a reação da sociedade civil e dos docentes frente às situações de repressão, bem como, as consequências a quem desafiasse as imposições do regime militar. De forma que, estabeleça relação de análise do processo de formação educacional, dos quais os alunos saiam da escola com conhecimentos para uma atuação em benefício do governo. Além de, entender como poder militar influenciou sobre o sujeito em formação na época de ditadura, dando ênfase aos meios de expressão, frente à censura da ditadura, almeja-se compreender esse período marcante no Brasil no que tange o exercício da educação. Partindo da expressão artística, como registro de um tempo, como meio de estudo historiográfico que embasa este trabalho, por hora, de caráter introdutório, toma-se como meio de pesquisa as obras de artistas da década de 1970, que por estarem descontentes com a realidade da época, expressam suas ideias em obras de protesto, como uma arte que denuncia a realidade do regime militar. Enfim, tem-se como principal objetivo compreender e ampliar conhecimentos acerca de acontecimentos pertinentes aos estudos do contexto que envolve o ensino de educação artística da década de 1970, bem como, a violência estatal frente aos artistas da época, dos quais, buscavam por expor sua posição diante da tamanha limitação do direito de opinião. O primeiro capítulo aborda os antecedentes do Golpe militar, como meio de informações para o entendimento da ação militar e as consequências deste para a educação. O segundo capítulo aborda a implantação da Lei 5.692/71 como normatização para a efetivação de uma educação nos moldes militares e de formação profissionalizante. No terceiro capítulo a abordagem acontece acerca do material didático produzido pelo governo com influência estrangeira, padronizando o ensino para uma educação para o civismo e a formação profissional, bem como o conteúdo trabalhado e registrado nos livros de registro de classe das décadas de 1970 e 1980 do Colégio Estadual São Vicente de Paula Machado de Nova Esperança – PR. Ao final, uma análise do trabalho de pesquisa realizado, suas implicações e resultados, relatados como meio de registro histórico.
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Os beneficios psicologicos da aula de musica : um estudo cientifico com adolescentes de 5as. e 6as. series do ensino publico brasileiro / The psychological benefits of the music class : a scientific study of brazilian public school adolescents of grades 5 and 6

Castro, Pablo Y. 12 June 2007 (has links)
Orientadores: Ricardo Goldemberg, Monica Gobitta / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T12:17:03Z (GMT). No. of bitstreams: 1 Castro_PabloY._M.pdf: 15248065 bytes, checksum: ac994ca4bb639fa5ae3fefcda9efc8ac (MD5) Previous issue date: 2007 / Resumo: O presente trabalho consistiu em uma pesquisa empírica realizada com o objetivo de detectar as conseqüências de um curso de iniciação ao violão em relação aos aspectos psicológicos de adolescentes com déficit de auto-estima. Para estabelecer a amostra, realizou-se aplicação prévia da escala EMAE em uma população de 225 alunos (5as. e 6as. séries do ensino fundamental de uma escola pública da periferia de Campinas-SP), de maneira que pudesse ser detectado o quartil inferior (n=56) da pontuação dos indivíduos, ou seja, quais eram os estudantes com menor auto-estima. Deste grupo, formaram-se, aleatoriamente, dois grupos (n=10 cada um), recebendo, um desses, uma intervenção na forma de um curso coletivo de iniciação ao violão com duração de três meses, e o outro, nenhum tratamento. Realizaram-se pré e pós-testagem dos dois grupos, com posterior comparação dos dados, sendo utilizados, para tanto, o teste projetivo HTP, entrevistas semi-estruturadas, o teste psicológico EMAE, e filmagens com análise microgenética, técnicas estas que conferiram uma abordagem qualiquantitativa à pesquisa. Os resultados indicam que os alunos do grupo que participou das aulas de música apresentaram, em relação aos sujeitos não participantes, diminuição de conflitos, melhoria das relações familiares, aumento da sociabilidade, melhoria da auto-estima implícita, diminuição da sensação de pressão por parte do meio e aumento da tendência ao devaneio e fantasia, havendo significância estatística nas diferenças encontradas (P=0,009; OR=1,889), o que confirma a hipótese de que a Educação Musical pode propiciar resultados positivos a seus educandos. Além disso, indicou-se que a participação da família do aluno no processo de ensino-aprendizagem e a valorização de habilidades específicas do educando potencializou a auto-estima implícita. / Abstract: This work had consisted in an empirical research made with the goal of to detect the consequences of an acoustic guitar initiation course in relation to the psychological aspects of low self-esteem adolescents. So that we could define the sample, it was made a previous use of the EMAE psychological test in a population of 225 5th and 6th grade students of a public school situated in the suburb of Campinas, so that was possible to detect the portion of the lower score subjects, that is, the lower self-esteem students. Of this group, it was randomly selected two groups (n=10 each of these), been the case that one of these groups received the intervention (an acoustic guitar initiation course with three months of duration), and the other, any treatment. It was made pre and post-testing of the two groups, and after, a comparison of the data, been used, for this, the projective test HTP, semistructured interviews, the psychological test EMAE, camera's recording with microgenetic analyses, techniques that gave a quali-quantitative approach to this research. The results sign that the music course participants showed, in comparison to the non-participants, conflict diminution, familiar relationships improvement, increased socialization, implicit self-esteem increase, diminution of the environment pressure's feeling and more tendency to the fantasy, having the differences statistical significance (P=0,009; OR=1,889), what confirms the hypothesis that Music Education can provide benefits to the participants. Besides, it was demonstrated that the students family participation in the learning process and the valorization of specific habilities of the adolescent had potencialized the increase of implicit self-esteem. / Mestrado / Fundamentos Teoricos / Mestre em Música
16

Escuela de Danza Contemporánea en Barranco / Contemporary Dance School in Barranco

Béjar Hinostroza, Rosario Inés 14 March 2022 (has links)
El Perú es reconocido internacionalmente como país de riqueza multicultural y pluricultural. Contradictoriamente, la Educación Artística es un sector altamente olvidado y poco priorizado dentro de los planes educativos, sociales y culturales a nivel nacional. Dentro de estos, se contemplan instituciones dedicadas a ramas como el arte plástico, la música, el teatro y la danza, siendo esta última una de las menos privilegiadas. Los espacios que brindan las Escuelas de Formación Artística de Danza no cuentan con ambientes adecuados para la Formación Integral del estudiante, limitando su desarrollo como profesional. Debido a esto, se propone la elaboración de una Escuela de Danza Contemporánea que, bajo el enfoque de la Arquitectura del Movimiento, responde a las necesidades físicas de los intérpretes mediante la configuración espacial a raíz del desplazamiento del cuerpo, al mismo tiempo que crea ambientes que generen estímulos neurológicos en favor de un aprendizaje pedagógico. No obstante, se propone como lugar de emplazamiento el distrito de Barranco, reconocido por su carácter histórico, artístico, cultural y turístico a nivel de Lima Metropolitana. / Peru is internationally recognized as a country of multicultural and pluricultural richness. Contradictorily, Artistic Education is an highly neglected and low priority sector within the educational, social and cultural national plans. There are institutions dedicated to branches such as plastic arts, music, theater and dance, the last one being one of the least privileged. The spaces provided by the Dance Artistic Training Schools do not have adequate environments for the integral formation of the student, limiting his development as a professional. Due to this reason, its propose the development of a Contemporary Dance School that, under the approach of the Architecture of Movement, responds to the physical needs of the performers through the spatial configuration as a result of the displacement of the body, while creating environments that generate neurological stimuli in favor of pedagogical learning. In this terms, the proposed location is the district of Barranco, recognized for its historical, artistic, cultural and touristic character in Metropolitan Lima. / Trabajo de investigación
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O olho e a mão: Walter Gropius / The hand and the eye: Walter Gropius

Souza, Rodrigo Mendes de 06 May 2014 (has links)
Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy-­-Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy-­-Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela Bauhaus / The statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.
18

L'art au collège : quels effets pour les élèves ? un observatoire dans une classe expérimentale / Art at school : what effects for students ? observatory in experimental class / El arte en el instituto : ¿ Qué efectos para los alumnos ? un observatorio en una clase experimental

Choquet, Céline 07 October 2016 (has links)
Cette recherche doctorale a pour axe l’élaboration et la mise à l’épreuve d’un modèle évaluatif de l’éducation artistique centré sur les effets de l’art et les normes d’un atelier. Au cœur de ce modèle  : la « pédagogie » de l’artiste et sa relation avec l’élève, s’adressant à un sujet à part entière, visant à développer sa singularité et son autonomie au sein du collectif grâce à la création partagée. La thèse développe l'hypothèse d'une «  zone proximale de développement spécifique » (A. Kerlan, 2008) générée par le travail artistique et l'expérience esthétique dans une co-construction favorisant un processus de subjectivation pour le jeune, grâce à l’instauration d’un « espace de création » (D. W. Winnicott, 1975). Elle montre comment cette subjectivation passe nécessairement en atelier par un travail double de socialisation et d’individuation, dans les domaines cognitif, social et personnel. Sur le plan empirique, la recherche s’appuie sur les données recueillies dans le cadre d’un observatoire que l’on peut qualifier de microsociologique : il s’agit d’une classe artistique expérimentale, située dans un collège en zone d’éducation prioritaire, à Montpellier, ayant reçu des artistes professionnels en résidence durant quatre années, entre trois et six heures par semaine. Grâce à des méthodes qualitatives (observations directes d’un millier d’heures, films, photographies ainsi qu’une trentaine d’entretiens compréhensifs et semi-directifs) les résultats tendent à démontrer que la mise en place de résidences d’artistes sur la durée, à l’image de l’expérimentation longitudinale présentée dans la présente thèse, permet de proposer une éducation par l’art servant la formation de la personne dans son être global. / This doctoral research has for main line the development and testing of an evaluative model of arts education focused on the effects of art and the standards of a workshop. The central issue of this model: the "teaching skills" of the artist and his relationship with the student, addressing a subject in itself, to develop its uniqueness and autonomy within the group through the shared creation. The thesis develops the hypothesis of a "zone of proximal development specific" (A. Kerlan, 2008) generated by the artistic work and aesthetic experience in a co-construction encouraging a process of subjectivation for the young, thanks to establishment of a "creative space" (Winnicott, 1975). It shows how this subjectivity necessarily going in the studio with a double work of socialization and individuation, in the cognitive, social and personal. Empirically, the research is based on data collected as part of an observatory that can qualify for the micro: it is an experimental artistic class, located in a college education area priority in Montpellier, having received professional artists in residence for four years, between three and six hours per week. Through qualitative methods (direct observation of a thousand hours, films, photographs and a thirty understanding and semi-structured interviews) the results suggest that the development of artists in residences duration, like the longitudinal experiments presented in this thesis, allows us to offer an education in art for the formation of the whole person be global. / Esta investigación doctoral se centra en la elaboración y la puesta a prueba de un modelo evaluador de la educación artística centrada en los efectos del arte y las normas de un taller. En el centro de este modelo: la 'pedagogía' del artista y su relación con el estudiante, afín de dirigirse à un sujeto plenamente, para desarrollar su singularidad y su autonomía dentro del colectivo a través de la creación compartida. La tesis desarrolla la hipótesis de una "zona proximal de desarrollo específico" (A. Kerlan, 2008) generada por el trabajo artístico y la experiencia estética en una co-construcción que favorece un proceso de subjetivación de los jóvenes, mediante el establecimiento de un "espacio de creación" (D. W. Winnicott, 1975). Muestra cómo esta subjetivación en el taller pasa necesariamente por un doble trabajo de socialización y de individualización, en los ámbitos cognitivo, social y personal. En el marco empírico, la investigación se basa en los datos recogidos en el contexto de un observatorio que podría describirse como micro-sociológico: Se trata de una clase experimental artística situada en un colegio de una zona de educación prioritaria en Montpellier, que ha recibido a artistas profesionales en residencia durante cuatro años, entre tres y seis horas por semana. A través de métodos cualitativos (observaciones directas de mil horas, películas, fotografías, así como unas treinta entrevistas comprensivas y semiestructuradas), los resultados tienden a demostrar que el establecimiento de residencias de artistas en la duración, a la imagen de la experimentación longitudinal presentada en esta tesis, permite ofrecer una educación artística para la formación de la persona en su ser global.
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Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » / The educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration

Shi, Wen 15 May 2018 (has links)
Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « ternaires » ou « tripolaires », avec le rôle d’un Tiers, d’un « milieu ». La problématique ainsi retenue est la suivante :Quelles sont les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » ?Au niveau historique, pour chaque culture, deux périodes jugées « significatives » dans le cadre de la philosophie de l’éducation esthétique/artistique ont été retenues. La première période correspond à l’Antiquité. Pour la chine, il s’agit de l’époque des Printemps et Automnes (771 à 476 av. J.-C.), pendant laquelle sont nés les courants philosophiques du confucianismeet du taoïsme. Pour l’Occident, il s’agit de la pensée grecque telle qu’elle est soulignée par Platon et Aristote. La seconde période, ne correspond pas à une synchronie entre la Chine et l’Occident. En revanche, elle se traduit dans un cas comme dans l’autre, par une profonde réforme des valeurs éducatives des arts. Cette réforme correspond pour l’Occident aux Lumières, notamment allemandes, par exemple avec la naissance, au XVIIIe siècle, de l’esthétique sous la plume de Baumgarten. Si la Chine était restée en phase avec la tradition de l’époque des Printemps et Automnes, il fallut attendre l’époque républicaine, à partir de 1919, pour que cette réforme se produise, précisément sous l’influence d’intellectuels chinois qui introduisirent de nouvelles conceptions très influencées par les Lumières européennes.Tel est le parcours historique que propose cette thèse, pour revenir finalement à la question de sa démarche comparative sur la base du « binaire » ou du « ternaire », base sur laquelle oscille l’ensemble du corpus présenté, tant en Chine qu’en Occident. Cette double configuration, repérée au centre des axiologies ici présentées, se prête ainsi, au-delà des valeurs éducatives des arts, à articuler un opérateur comparatif « transculturel » dont la proposition et l’essai constituent l’originalité de cette thèse au regard des approches sino-occidentales. / This thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches.
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O olho e a mão: Walter Gropius / The hand and the eye: Walter Gropius

Rodrigo Mendes de Souza 06 May 2014 (has links)
Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy-­-Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy-­-Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela Bauhaus / The statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.

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