CASTRO, Genivaldo Macário de. Cultura lúdica docente em jogo: nos recôndidos da memória. 2009. 144f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2009. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-07-04T16:06:09Z No. of bitstreams: 1 2009_Dis_GMCastro.pdf: 1434162 bytes, checksum: b14dee4b2514ae1afe995154b2ec44b0 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T16:18:03Z (GMT) No. of bitstreams: 1 2009_Dis_GMCastro.pdf: 1434162 bytes, checksum: b14dee4b2514ae1afe995154b2ec44b0 (MD5) / Made available in DSpace on 2012-07-20T16:18:03Z (GMT). No. of bitstreams: 1 2009_Dis_GMCastro.pdf: 1434162 bytes, checksum: b14dee4b2514ae1afe995154b2ec44b0 (MD5) Previous issue date: 2009 / The research Teacher’s Ludic Culture at game: In the hidden places of the memory is the result of an investigation about the ludic culture of teachers in Primary School, with the aim to understand how these teachers relate their ludic culture to their practice in classroom. The methodology was based on a qualitative and phenomenological perspective and the autobiographical research was combined with the collaborative one. It involved six subjects who were teachers of Primary Education, members of the network of municipal public education of Fortaleza, teaching staff of the primary municipal school Professora Alba Frota. The fieldwork consisted of 14 meetings with the group of subjects, in which there were ludic-creative workshops, reflexive sessions, group of conversation, individual interviews, autobiographical narratives and “press conference”. Some of these meetings were dedicated to the ludic activities that made part of the memoirs of each teacher, which were moments when they made a link to their teaching practices. In this context, through stories of their own lives, the subjects rescued fragments of their ludic culture through living experiences, culminating with the drafting of a written memorial. The results were grouped into two categories of analysis: experiences founding and formative experiences. The analysis of the corpus of the research allows to affirm that the experience of the teacher’s ludic culture was initially underestimated, but revalued as it was submitted to the work with narratives, that allowed the teachers to identify institutional, personal and cultural limitations, related to their pedagogic practices that include the ludic experience. / A pesquisa Cultura lúdica docente em jogo: nos recônditos da memória, é fruto de uma investigação acerca da cultura lúdica do docente de Educação Infantil, com o objetivo de compreender como o professor relaciona sua cultura lúdica com sua prática docente. A metodologia teve por base a perspectiva qualitativa fenomenológica e a pesquisa autobiográfica, conjugada com a pesquisa “colaborativa”. Envolveu seis sujeitos, professores da Educação Infantil, integrantes da rede de ensino público municipal de Fortaleza, membros do corpo docente da Escola Municipal de Educação Infantil professora Alba Frota. O trabalho de campo constou de 14 encontros com o grupo de sujeitos, durante os quais foram realizadas oficinas lúdico-criativas, sessões reflexivas, rodas de conversa, entrevistas individuais, narrativas autobiográficas e, finalmente, uma entrevista coletiva. Parte destes encontros foi destinada às memórias lúdicas da infância de cada professor, ocasião em que estas foram relacionadas às suas práticas docentes. Neste contexto, por meio das histórias de vida, os sujeitos recuperaram fragmentos de sua cultura lúdica, mediante as experiências vivenciais, culminando com a elaboração de um memorial escrito. Os dados foram agrupados em duas categorias de análise: experiências fundadoras e experiências formadoras. As experiências vividas e atualizadas nas lembranças foram analisadas segundo a categoria de experiências fundadoras, enquanto a reflexão sobre estas experiências constituiu a categoria das experiências formadoras. A análise do corpus da pesquisa permite afirmar que a experiência da cultura lúdica do docente inicialmente foi subestimada, mas revalorizada à medida que foi submetida ao trabalho com as narrativas, o que permitiu que os professores identificassem limitações de ordem institucionais, pessoais e culturais em relação as suas práticas pedagógicas que incluem o lúdico

This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.

"Thank You" Parts I and II is an experiment that attempts to break new ground in the field of anthropological cinema through the reflexive methodology and experience of myself. My establishment of a new theoretical film approach called meta-anthrochaomediacy and its evolution into radical autoethnographic mediation is explored throughout this thesis. I exercised my theory by producing and documenting a reflexive experience built on fostering emotional bonds and social relationships that provided interactivity and choice within an environment as a process of mediation for anthropological study. Part I features a physical installation I designed that exercised the transmission of memories shared with my familial table. Twelve individuals voluntarily experienced this process across 4 sessions in a single day where they interacted with the table, each other, and the memories of places that the table has lived in. The installation was primarily recorded with a 360 camera and subsequently established as qualitative data, as per my theoretical process, to be edited into a film object. Part II is a 58-minute multi-split-screen film that features my theoretical process in action as it expresses the crafting of emerging-in-real-time short term cultures through layers of reflexivity. I edited this film to test my theory towards exemplifying my film and process as anthropological cinema.