Esta pesquisa trata das percepções corporais e da necessidade de se trabalhar com o sentir na formação de professores, partindo do Jogo Teatral e ampliando para o Jogo Estésico. A pesquisa propõe formas de percepção, que incluem e ampliam as percepções dos cinco sentidos, perseguindo estados ampliados da consciência, numa busca pela transcendência do ser humano, a partir do sensível, recorrendo para esse enfoque à perspectiva de ser integral de Ken Wilber e aos estudos de Apometria, desenvolvidos por José Lacerda de Azevedo. A metodologia se apóia no conceito de vivência, pois a considero um ato de criação e assumo a inseparatividade entre sujeito que observa e sujeito que é observado. O Método orienta-se por uma Fenomenologia baseada em Merleau-Ponty complementada pela visão da Hermenêutica Imaginativa de Márcia Sá Cavalcante Schuback. Finalmente, após o trabalho de interpretação das vivências, realizando os diálogos necessários com os autores escolhidos e criando novos significados, avalio que o trabalho constituiu-se como contribuição para a formação de professores, através de novas percepções da realidade, necessárias para uma educação integral, tal como é compreendida nesta tese. / Thís research deals with the corporal perceptions and the need to work with feelings when training teachers based on the Drama Game and expanding into the Esthesíc Game. The research proposes forms of perceptíon that include and expand the perceptions of the tive senses, pursuing expanded states of the conscience in a search for the transcendence of the human beíng based on being sensitive and using this focus with the perspective of the ''whole being" by Ken Wilber and the Apometry studies developed by José Lacerda de Azevedo. The methodology is supported on the concept of interaction because I consider it an act of creation and assume the inseparability between the subject that observes and the subject that is being observed. The Method is guided by a Phenomenology based on Merleau-Ponty complemented by the vision of the Imaginative Hermeneutics of Márcia Sá Cavalcante Schuback. Finaliy, after the work of ínterpretíng the interactions, carrying out the dialogues needed with the authors chosen, and creating new meanings, I consider the work as beíng a contribution toward the training of teachers by means of new perceptions of reaJity, which is needed for an integral education such as what is covered in this thesis.

Esta pesquisa trata das percepções corporais e da necessidade de se trabalhar com o sentir na formação de professores, partindo do Jogo Teatral e ampliando para o Jogo Estésico. A pesquisa propõe formas de percepção, que incluem e ampliam as percepções dos cinco sentidos, perseguindo estados ampliados da consciência, numa busca pela transcendência do ser humano, a partir do sensível, recorrendo para esse enfoque à perspectiva de ser integral de Ken Wilber e aos estudos de Apometria, desenvolvidos por José Lacerda de Azevedo. A metodologia se apóia no conceito de vivência, pois a considero um ato de criação e assumo a inseparatividade entre sujeito que observa e sujeito que é observado. O Método orienta-se por uma Fenomenologia baseada em Merleau-Ponty complementada pela visão da Hermenêutica Imaginativa de Márcia Sá Cavalcante Schuback. Finalmente, após o trabalho de interpretação das vivências, realizando os diálogos necessários com os autores escolhidos e criando novos significados, avalio que o trabalho constituiu-se como contribuição para a formação de professores, através de novas percepções da realidade, necessárias para uma educação integral, tal como é compreendida nesta tese. / Thís research deals with the corporal perceptions and the need to work with feelings when training teachers based on the Drama Game and expanding into the Esthesíc Game. The research proposes forms of perceptíon that include and expand the perceptions of the tive senses, pursuing expanded states of the conscience in a search for the transcendence of the human beíng based on being sensitive and using this focus with the perspective of the ''whole being" by Ken Wilber and the Apometry studies developed by José Lacerda de Azevedo. The methodology is supported on the concept of interaction because I consider it an act of creation and assume the inseparability between the subject that observes and the subject that is being observed. The Method is guided by a Phenomenology based on Merleau-Ponty complemented by the vision of the Imaginative Hermeneutics of Márcia Sá Cavalcante Schuback. Finaliy, after the work of ínterpretíng the interactions, carrying out the dialogues needed with the authors chosen, and creating new meanings, I consider the work as beíng a contribution toward the training of teachers by means of new perceptions of reaJity, which is needed for an integral education such as what is covered in this thesis.

Esta pesquisa trata das percepções corporais e da necessidade de se trabalhar com o sentir na formação de professores, partindo do Jogo Teatral e ampliando para o Jogo Estésico. A pesquisa propõe formas de percepção, que incluem e ampliam as percepções dos cinco sentidos, perseguindo estados ampliados da consciência, numa busca pela transcendência do ser humano, a partir do sensível, recorrendo para esse enfoque à perspectiva de ser integral de Ken Wilber e aos estudos de Apometria, desenvolvidos por José Lacerda de Azevedo. A metodologia se apóia no conceito de vivência, pois a considero um ato de criação e assumo a inseparatividade entre sujeito que observa e sujeito que é observado. O Método orienta-se por uma Fenomenologia baseada em Merleau-Ponty complementada pela visão da Hermenêutica Imaginativa de Márcia Sá Cavalcante Schuback. Finalmente, após o trabalho de interpretação das vivências, realizando os diálogos necessários com os autores escolhidos e criando novos significados, avalio que o trabalho constituiu-se como contribuição para a formação de professores, através de novas percepções da realidade, necessárias para uma educação integral, tal como é compreendida nesta tese. / Thís research deals with the corporal perceptions and the need to work with feelings when training teachers based on the Drama Game and expanding into the Esthesíc Game. The research proposes forms of perceptíon that include and expand the perceptions of the tive senses, pursuing expanded states of the conscience in a search for the transcendence of the human beíng based on being sensitive and using this focus with the perspective of the ''whole being" by Ken Wilber and the Apometry studies developed by José Lacerda de Azevedo. The methodology is supported on the concept of interaction because I consider it an act of creation and assume the inseparability between the subject that observes and the subject that is being observed. The Method is guided by a Phenomenology based on Merleau-Ponty complemented by the vision of the Imaginative Hermeneutics of Márcia Sá Cavalcante Schuback. Finaliy, after the work of ínterpretíng the interactions, carrying out the dialogues needed with the authors chosen, and creating new meanings, I consider the work as beíng a contribution toward the training of teachers by means of new perceptions of reaJity, which is needed for an integral education such as what is covered in this thesis.

In the present study I examine the vertical bamboo flute shakuhachi, as an example of how a tradition can be constructed. There are two main issues: the historical authenticity of the believed origins and development of the shakuhachi tradition, and how the transmission of this tradition is conducted. The first main issue is concerned with how a legendary origin, probably constructed in the late seventeenth century, was disproved in early twentieth-century studies. According to this legendary origin, the shakuhachi was connected to Chan (Zen) Buddhism in ninth-century China. It was replaced by a nowadays commonly accepted theory of an indigenous origin, found in both Japanese and English language contemporary writings. I discuss the legend, constructed by the so-called komusō monks of the Edo period (1603–1867), and suggest an alternative explanation of how they became connected to other kinds of medieval monks, so-called boro and komosō. The primary sources relating to the boro and the komosō are discussed. My analyses indicate that the twentieth-century studies created a connection to the boro and komosō as assumed devout Buddhist monks, probably for socio-political reasons. The second main issue concerns how the tradition is transmitted, and the constitutive elements of this transmission. Some Japanese studies discuss the notion of kata – fixed forms implicitly containing essential elements of the ‘tradition’ – as a special feature of Japanese arts. I investigate how transmission is conducted, and argue against the notion that the elements transmitted from teacher to student contain the essence of the tradition. I assert that the concept of fixed forms as a defining characteristic of Japanese traditional arts, should be modified to a more modest ‘character of the music’ on the level of individual transmitters. I discuss the elements that are transmitted, and investigate what it is that constitutes the ‘traditional’ aspects, if any, of this transmission. / 本研究は、竹でできた縦笛である尺八の歴史とその音楽の伝承の研究である。尺八に関連する研究はそのほとんどが歴史的な考察であり、そこでは尺八の 起源、楽器としての尺八、尺八音楽について議論されてきた。初期の研究は20世紀初頭に行なわれた。これらの研究においては、江戸時代（1603〜 1867）に書かれたいろいろな記述や書物によって入念に作り上げられた尺八の伝説的な起源について反証が行われている。江戸時代には、尺八は僧侶の一つ のタイプである虚無僧(こむそう)により宗教的な道具（法器）として使用されていた。虚無僧は、尺八の起源を9世紀の中国の禅僧 Pu Hua （普化）にさかのぼるものと主張していた。それに対して、1900年代に行われた尺八の歴史的な研究において、日本の研究者たちは、江戸時代以前にさかの ぼる日本固有の起源論を提示した。そして、それが暮露(ぼろ)および薦僧(こもそう)という別種の仏教僧につながるものであると述べており、それは現在広 く受け入れられている有力な説となっている。 第4章では、尺八の伝説的な起源について紹介するとともに、上記の三つのタイプの僧が江戸時代の早い時期には同様のものとして見なされるようになった経緯について考察する。 第 5章および第6章では、日本人研究者によるほとんどの研究で参照されている、暮露と薦僧に直接につながる資料の詳細な分析を行う。そこでは、これらの日本 人研究者の研究が示し、広く受け入れられている尺八の日本固有の起源論と発展の過程を分析し、それに対して反論を試みる。本論文の最も中心となる課題は、 「伝統」という概念について考察し、「伝統」が必ずしも真正の起源を基礎とするものとは限らない、ということを尺八を例として明らかにすることである。筆 者の分析において、尺八には日本固有の伝統があるという考えは、おそらく社会政治的な（socio-political）理由のもとに、1900年代に行 われた尺八の歴史に関する研究の中で作り出されたものであると論じる。 本論文中では、「伝統」の概念に関してもう一つの観点を取り上げる。それは、伝統芸能の伝承である。日本における研究では、「型」の概念、つまりその芸能 特有の特質が含まれる固定化されたフォームが日本の伝統芸能の特筆すべきものとして論じられている。筆者はその伝承がどのように行われているかを調べて考 察し、教える者から学ぶ者へ伝承される要素の中には、必ず伝統の本質が含まれるという考えに対して反論を行う。この本質主義的な観点とは対照的に、筆者が 主張するのは、伝統芸能において伝承されるのはそのような意味での「型」ではなく、それはむしろ個々の伝承者のレベルでの、より緩やかな「音楽のキャラク ター」であり、「型」はそういう意味にとらえ直されるべきだということである。本論文では、伝承される諸要素について論じ、また、この伝承における「伝統 的」な様相(アスペクト)を構成しているものが、もしあるとすれば何なのかを追究する。