Submitted by admin tede (tede@pucgoias.edu.br) on 2018-11-29T18:24:38Z No. of bitstreams: 1 ANA RITA DA SILVA.pdf: 2699438 bytes, checksum: 4245ec30550f3834fc8e2468645561dd (MD5) / Made available in DSpace on 2018-11-29T18:24:38Z (GMT). No. of bitstreams: 1 ANA RITA DA SILVA.pdf: 2699438 bytes, checksum: 4245ec30550f3834fc8e2468645561dd (MD5) Previous issue date: 2018-09-14 / The present work, inscribed in the line of research of Theories of Education and Pedagogical Processes, aims to study the development of creativity and the processes of creation in school, based on the contributions of the Historical-Cultural Theory formulated by Lev Seminovich Vigotski and his collaborators. This theoretical reference, in leading to the understanding the creative imagination as a process that encompasses the systemic development of higher psychological functions through out intersubjective interaction, highlights the role of the school in providing the child's cognitive-affective experiences for the formation of this capacity. With this understanding, the central problem that was sought to clarify was: what are the implications of school educational work in the development of the creative imagination of students, based on the conceptions of creativity of managers and teachers, and the way they perform pedagogical mediation in school and in Art classes? This problematic points out to the main objective that is related to the understanding and analysis of how the conceptions of creativity of managers and teachers and the way they perform pedagogical mediation in school and in art classes imply the development of the students' creative imagination. And, as specific objectives, it will historicize and contextualize the concept of creativity and its implications within the Brazilian pedagogical tendencies; analyze the conception of creativity of teachers and managers; examine pedagogical mediation in school and in art classes; investigate the students’ artistic production, based on pedagogical mediation in the context of art classes; demonstrate the peculiarities of historicalcultural theory for the development of creativity in the school context. The work takes place in two stages, involving bibliographical and field researches. The bibliographical search covers the period from 1975 to 2015, focusing on studies on the theme of creativity, specifically related to art education. The field research involves managers, teachers and students of the Art discipline of the 6th and 7th years of Elementary School in two public schools. The data collection includes questionnaires and semi-structured interviews, analysis of the Political Pedagogical Project and the observation of participation in Art classes. The results obtained from the thesis reveal that, in most of the consulted literature on creativity, psychological conceptions prevail that do not consider the interconnections between social and cultural in the study of personality formation; the managers and teachers investigated tend to see creativity as a historical cultural phenomenon, but without reaching a theoretical explanation that contributes to the understanding of the psychological connections; Art teachers’ pedagogical mediation does not prioritize actions focused on the creative imagination, such as problematization, thought activity, reflection, fantasy. Thus, the limitations imposed on the imagination and subjective motivation bring losses to the activity of pupils' creation, generating stereotyped forms of expression, which they end up being maintained at the reproductive level, without advancing to more elaborated and original aesthetic configurations from the point of view of magnification and transformation of experiences. In conclusion, therefore there is a need to develop studies on the subject of creativity in the teaching of art in a historical-cultural perspective, surpassing concepts that are rigid or misleading about the concept and seeking its understanding as a psychological function to be developed in a way through out education. / O presente trabalho, inscrito na linha de pesquisa Teorias da Educação e Processos Pedagógicos, objetiva o estudo do desenvolvimento da criatividade e dos processos de criação na escola, a partir das contribuições da Teoria Histórico-Cultural formulada por Lev Seminovich Vigotski e seus colaboradores. Esse referencial teórico, ao conduzir à compreensão da imaginação criadora como um processo que abrange o desenvolvimento sistêmico das funções psicológicas superiores, mediante a interação intersubjetiva, destaca o papel da escola em proporcionar a ampliação das experiências cognitivo-afetivas da criança para a formação dessa capacidade. Com esse entendimento, o problema central que se buscou esclarecer foi: quais as implicações do trabalho educativo escolar no desenvolvimento da imaginação criadora dos estudantes, tendo como base as concepções de criatividade de gestores e professores e a forma como realizam a mediação pedagógica na escola e nas aulas de Arte? Essa problemática aponta como objetivo principal entender e analisar como as concepções de criatividade de gestores e professores e a forma como realizam a mediação pedagógica na escola e nas aulas de Arte implicam no desenvolvimento da imaginação criadora dos estudantes. E, como objetivos específicos, historiar e contextualizar o conceito criatividade e suas implicações dentro das tendências pedagógicas brasileiras; analisar a concepção de criatividade de professores e gestores; examinar a mediação pedagógica na escola e nas aulas de Arte; investigar a produção artística dos alunos, a partir da mediação pedagógica no contexto das aulas de arte; demonstrar as peculiaridades da teoria histórico-cultural para o desenvolvimento da criatividade no contexto escolar. A investigação ocorre em duas etapas, envolvendo pesquisa bibliográfica e pesquisa de campo. A pesquisa bibliográfica abrange o período de 1975 a 2015, com foco em estudos sobre o tema da criatividade, especificamente, ligados à arteeducação. A pesquisa de campo envolve gestores, professores e estudantes da disciplina Arte do 6º e 7º anos do Ensino Fundamental em duas escolas da rede pública. A coleta de dados inclui questionários e entrevistas semiestruturadas, análise do Projeto Político Pedagógico e observação participativa das aulas de Arte. Os resultados obtidos na pesquisa revelam que, na maior parte da literatura consultada sobre a criatividade, prevalecem concepções psicológicas que não consideram as interconexões entre o social e o cultural no estudo da formação da personalidade; os gestores e professores nos contextos investigados tendem a ver a criatividade como um fenômeno cultural histórico, mas sem alcançar uma explicação de nível teórico que contribua para compreendê-la em seus liames psicológicos; a mediação pedagógica dos professores de Arte não prioriza ações voltadas à imaginação criadora, tais como a problematização, a atividade do pensamento, a reflexão, a fantasia. Assim, as limitações impostas à imaginação e à motivação subjetiva trazem prejuízos à atividade de criação dos alunos, gerando formas estereotipadas de expressão, que acabam se mantendo no nível reprodutor, sem avançar para configurações estéticas mais elaboradas e originais do ponto de vista da ampliação e transformação das experiências. Conclui-se, assim, que existe a necessidade de desenvolver estudos sobre o tema da criatividade no ensino da Arte numa perspectiva histórico-cultural, superando noções enrijecidas ou equivocadas sobre o conceito e buscando a sua compreensão como uma função psicológica a ser desenvolvida de maneira sistêmica por meio da educação.

This thesis portfolio presents an autoethnographic account of a prison educator engaged in a research project that explores creative approaches to arts, prison education, work and training in custodial settings. The position of the researcher is located in-between and across professional practices including arts in prisons, prison education, work and training environments, which have conflicting agendas that, nevertheless, share the same institutional space. Policymakers and management bodies regulating these professional practices expect education and training to contribute to reducing reoffending. Procedurally, the research process was precariously balanced between, on the one hand, performing to measures of quality based on the requirement to reduce recidivism, and on the other, crude outcome measures driven by a utilitarian marketization of prison education that includes course completion rates calculated on the basis of minimum contact time. This broader context created an uncertain and constantly shifting context for the research, which began with my search for an effective creative practice in a Performing Arts Department (PAD) and ends in a Functional English classroom (FEC). Conceptually, the research draws on the What Works debate (McGuire, 1995; Brayford et al. 2010), which continues to create a disjuncture between policy and implementation resulting from unrealistic assumptions that arts and education programmes in prison might prevent reoffending, with evidence relying solely upon randomisation, reductive causation and numerical calculation. It also draws on desistance theory (Maruna, 2001; McNeil, 2006), which argues that desistance from crime can be understood as an indirect process, rather than an event. From an examination of my efforts to implement and develop creative approaches to education via autoethnographic tools, including fictional performative writing, I argue two main points. Firstly, the autonomy required by the creative prison educator engaged in an advanced research project re-positions the professional in a particular relationship with the bewildering processes of power, protectionism and performance management in the criminal justice system. Secondly, and as demonstrated through fictional performative writing, I argue that research methods engaging voices from the frontline of educational environments, can reveal seemingly small details relating to the challenges and possibilities of creative education in prisons that, nonetheless, have significant implications for developing productive and innovative approaches to desistance from crime. Moreover, from this grounded, yet restricted position, I speculate how such approaches might extend both creativity and creatively beyond the validation of this doctorate qualification.

In this paper, creative mathematical activities of school pupils in conditions of the differentiated teaching in Russian Federation are described. Various forms of differentiated teaching (internal – level, external – profile) are characterized. Ways of using entertaining problems for detecting and fostering mathematical abilities are revealed. New course of geometry for differentiated teaching is introduced.

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.

This thesis focuses on excursions in the subject for Practical Activities in Primary School and presents a number of possible destinations. The theoretical part focuses on the developement of independant thinking in pupils, theory of teaching with a focus on constructivism and the explanation of key terms: technical thinking, technical skills, creativity in general, and technical creativity. Further, the current modus operandi of subjects focussed on technical developement in the Framework Educational Programme for Elementary Education, using excursions as a form of teaching and including activating methods aplicable in excursions, is described. The pracital part presents fifteen possible excursions with follow-up lessons. The efficacy and functionality of these was tested using questionaires filled out by practitioning teachers in elementary education. Additionally, two of the presented excursions were realized in third grade classes.