The thesis in theoretical layer deals with issues of pedagogical secondary schools, particularly in methodological approaches to preschool education. The author will focuses on this topic from the perspective of high-school of pedagogy teachers. She will elaborate on psychological characteristics of a preschool age child in the context of integration and polyaesthetization. She will characterise processes by which personal values are formed. She will deal with dynamics of contemporary changes of both society and family and with perception of education in kindergartens in the field of personality concept of education. The research will introduce opinions on contemporary needs of pedagogical practice and its reflection on professional pedagogical, scientific and academic grounds that will be ascertained through the means of interviews with teachers having a long-time experience with teaching at pedagogical high schools in the Czech Republic and by survey among secondary pedagogical school's students.

This master thesis investigates abusive conduct in circus schools. Focus is put on the management level in order to achieve and provide knowledge of measures and attitudes related to prevention. The theoretical framework for the thesis is built on understanding knowledge as situated and the creation of normative borders producing ways for practitioners of identifying with artistic disciplines. Moreover, the thesis takes a structural understanding of abusive conduct. Stating the lack of research within circus schools, the thesis builds upon a research background relying on sports and academia as fields of reference. Research from these related fields are argued to help artistic education such as circus schools to make up for lost time. The data of this thesis comes from a survey conducted within a global federation of professional circus schools, FEDEC, and the results were thematically analyzed in eight categories. The results reflect circus schools as mainly willing actors against abusive conduct. However, the survey also shows a discipline that is in need of deeper knowledge in order to better apply policies and effectively prevent abuse. The respondents show varying degrees of uncertainty regarding policies and in certain cases refer to direct unwillingness to engage with designated safeguarding procedures, attitudes that must be seen as incompatible with management of any artistic school. In conclusion, this thesis argues that circus (and indeed other artistic) schools are in need of better knowledge and further research in order to better account for transparency, active leadership and bystanding dynamics within the specific social fields of the respective disciplines. Finally it is suggested that further research into identifying and naming problems related to cultures of abuse may help circus schools and other social actors within Circus to put these questions on the agenda. / Ce mémoire de Master étudie les comportements violents au sein des écoles du cirque. Il se concentre sur le rôle de la direction des écoles, dans le but de procurer les connaissances nécessaires à l’application des mesures et des attitudes relatives à la prévention. Le cadre théorique de ce mémoire s’appuie sur les concepts de “savoir situé” et de “frontières normatives”, permettant aux professionnel-le-s de s’identifier eux-mêmes et elles-mêmes aux disciplines artistiques. Ce mémoire inclut par ailleurs une analyse structurelle des comportements violents. Ayant constaté le peu d’observations effectuées au sein des écoles du cirque, il s’appuie sur des recherches ayant comme terrains de référence le sport et le milieu universitaire. La recherche issue de ces domaines connexes est utilisée pour permettre au secteur de l’éducation artistique, dont les écoles du cirque, de rattraper le temps perdu. Les données reprises dans ce mémoire proviennent d’une enquête menée au sein de la fédération mondiale des écoles du cirque, la FEDEC, et l’analyse des résultats est répartie en huit thématiques distinctes. Les résultats montrent que les écoles de cirque sont pour la plupart disposées à lutter contre les comportements violents. Cependant, l’enquête pointe également que la discipline requiert des connaissances plus approfondies pour pouvoir appliquer au mieux les règles en vigueur et empêcher efficacement les violences. Les répondant-e-s montrent des degrés divers de scepticisme concernant ces règles et, dans certains cas, une réticence directe à appliquer des mesures de protection spécifiques ; attitudes qui doivent être considérées comme incompatibles avec la gestion de toute école artistique. Enfin, il est suggéré que des recherches supplémentaires sur l’identification et la désignation des problèmes liés à la culture de la violence pourraient aider les écoles du cirque et d’autres acteurs sociaux au sein du monde du cirque à mettre ces questions à l’ordre du jour. En conclusion, ce mémoire soutient que les écoles de cirque (et bien d'autres établissements d’enseignement artistique) ont besoin de meilleures connaissances et de recherches plus approfondies afin de mieux rendre compte de la transparence, du leadership actif et des dynamiques d'observation au sein des domaines sociaux spécifiques des disciplines respectives. / <p>The English version was examinated 2021-06-11 and published 2021-07-01. The thesis was translated into French by the author. The translation was published 2022-03-31.</p>

My dissertation deals with the reform of the elementary artistic educatin in Czech Republic and opinions of the the teachers on it . The theoretical part describes the history and development of elementary artistic schools, the Framing education program for artistic education, project PILOT ZUV and the manual for School Educational Program. The practical part contains opinions of 13 teachers and headmasters of Elementary Artistic Schools in South Bohemia on the creating of School Educational Program at their schools. There are also their opinions on practical using of SEP and their view of the effect of the SEP on the students. The results are made by qualitative research.

[pt] Trabalho, Educação, Música e Arte: o ensino de música nas escolas públicas do Estado da Guanabara (1960 a 1975) investigou as práticas musicais realizadas nas escolas públicas de grau médio do Estado da Guanabara, buscando entender as resistências imbricadas no processo reformatório da educação nacional e estadual, bem como as representações de música e de ensino implícitas nos discursos oficiais e não-oficiais. Trabalho, Educação, Música e Arte correspondiam aos princípios norteadores do Serviço de Educação Musical da Guanabara e como tal compunham a sigla TEMA, nome dado também à revista publicada entre 1969 e 1974 que expunha atividades musicais realizadas nas instituições de ensino do Estado e publicava textos formativos para os professores. Tais princípios congregavam aspectos das discussões reformistas de grupos relacionados ao governo da época, especialmente a preponderância do trabalho no desenvolvimento de um projeto de educação, que marcou especialmente a Lei nº 5.692/71. Nos anos 1930 a 1950, o Rio de Janeiro foi o epicentro do canto orfeônico, projeto de educação musical dirigido por Heitor Villa-Lobos. Nesse período, o canto orfeônico foi disciplina obrigatória nas escolas, mas com as reformas educacionais propostas pela LDBEN nº 4.024/61 e posteriormente pela Lei nº 5.692/71, o status do ensino de música mudou, transformando-se inicialmente em prática educativa opcional e depois em conteúdo da disciplina educação artística. O recorte temporal da pesquisa abrange um período de implantação de uma Ditadura Militar, fato que marcou profundamente a sociedade brasileira em todas as suas esferas, inclusive a educacional e a cultural. A delimitação entre 1960 e 1975 ocorre em função da existência do Estado Guanabara. A pesquisa realizada foi de natureza bibliográfica e documental, com a catalogação de fontes na Biblioteca Nacional, no Centro de Memória da Educação Básica do Instituto Superior de Educação do Rio de Janeiro, no Arquivo do Conservatório Nacional de Canto Orfeônico e outros. O referencial teórico-metodológico se apoia em três pilares: a história das disciplinas escolares e da cultura escolar (Chervel, 1990; Julia, 2001; Viñao Frago, 2002; 2008; Goodson, 1997); o processo de apropriação das legislações, com todas as estratégias e táticas percebidas nos documentos e relatos à luz da teoria do cotidiano (Certeau, 2009); e o impacto das reformas educacionais propostas pelo poder público na sociedade e na escola (Tyack; Cuban, 1995). Por meio do referencial da história oral, obtiveram-se dados a partir do depoimento de dois professores que viveram o período em questão. Os resultados demonstram que houve resistência por parte do corpo docente de canto orfeônico às reformas empreendidas pelo governo. Apesar dessas mudanças de ordem legislativa, a música continuou sendo realizada nas escolas públicas do Estado da Guanabara, tanto com práticas reminiscentes do canto orfeônico quanto com novas metodologias pautadas nos movimentos pró-criatividade (Fuks, 1991), tendências conflitantes que marcaram o ensino de música nos anos 1960. Espera-se, com esta tese, contribuir com a área da história da educação e especialmente da história da educação musical, iluminando aspectos que auxiliem as reflexões sobre sua atual inserção no cenário educacional brasileiro. / [en] Trabalho, Educação, Música e Arte: the teaching of music in public schools in Guanabara State (1960-1975) investigated the musical practices performed in Guanabara State s middle e high schools, seeking to understand the resistance imbricated in the reformatory process of national and state education, as well as the representations of music and teaching implicit in official and unofficial discourses. Trabalho, Educação, Música e Arte corresponded to the guiding principles of the Service of Music Education of Guanabara and as such comprised the abbreviation TEMA, a name also given to the magazine published between 1969 and 1974 that exhibited musical activities carried out in state educational institutions and published texts for teachers. These principles brought together aspects of the reformist discussions of groups related to the government of the time, especially the preponderance of work in the development of an education project, which especially marked the Law 5.692/71. In the years 1930 to 1950, Rio de Janeiro was the epicenter of canto orfeônico, music education project directed by Heitor Villa-Lobos. During this period, canto orfeônico was compulsory in schools, but with the educational reforms proposed by LDBEN 4.024/61 and later by Law 5.692/71, the status of music teaching changed, initially becoming an optional educational practice and then in content of the discipline of educação artística. The temporal cut of the research covers a period of implantation of a Military Dictatorship, a fact that profoundly marked the Brazilian society in all its spheres, including the educational and the cultural ones. The delimitation between 1960 and 1975 occurs due to the existence of the Guanabara State. The research was bibliographical and documentary, with the cataloging of sources in the Biblioteca Nacional, in Centro de Memória da Educação Básica of Instituto Superior de Educação do Rio de Janeiro, in the Archive of Conservatório Nacional de Canto Orfeônico and others. The theoretical-methodological framework relies on three pillars: the history of school subjects and school culture (Chervel, 1990; Julia, 2001; Viñao Frago, 2002, 2008; Goodson, 1997); the process of appropriation of legislation, with all the strategies and tactics perceived in the documents and reports in the light of everyday theory (Certeau, 2009); and the impact of educational reforms proposed by public power in society and in school (Tyack; Cuban, 1995). Through the reference of oral history, we obtained data from the testimony of two teachers who lived the period under consideration. The results show that there was resistance by the faculty of canto orfeônico to the reforms undertaken by the government. Despite these legislative changes, music continued to be performed in public schools in Guanabara State, both with practices reminiscent of canto orfeônico and with new methodologies based on the pro-creativity movements (Fuks, 1991), conflicting tendencies that marked the teaching of music in the 60 s. With this thesis, it is hoped to contribute to the area of the history of education and especially the history of music education, illuminating aspects that help the reflections on its current insertion in the Brazilian educational scene.