Essa pesquisa se desenvolve no campo da Educação atravessada pela dança na perspectiva Pós-Estruturalista, com as filosofias da diferença de Gilles Deleuze e Michel Foucault. Com isso, trato de um movimento infinito que pode se dar entre a educação e criação de corpos para a constituição de si, como possibilidade de educar a si mesmo nos instantes de uma vida dançante. Tendo como problema: Como viver a constituição de diferentes intensidades corpóreas, em uma materialidade corporal, quando muito do que se aprende é para se tornar um corpo fixo, estável, docilizado para determinadas práticas, representações no pensamento? A partir disso se traçou o objetivo de compor o conceito “corpo a dançar”, para dar conta de questões que emergem entre a educação e criação de corpos, entre sujeitos e subjetivações, entre mensuráveis e imensuráveis, entre representações e acontecimentos... A escolha dos autores se deu por buscar em Michel Foucault, o corpo como superfície de inscrição dos acontecimentos, e também um corpo docilizado por diferentes práticas, para assim tratar de uma experiência de si. Com Gilles Deleuze, busco o acontecimento como resultante dos corpos e de suas ações, aquele que força a pensar nos encontros que se dão nos “entres” - criação. Os conceitos utilizados mais operantes são “Criação” e “Entre”, de Deleuze, ambos atravessados pelos conceitos: acontecimento, devir, pensar, imaginação, encontro, multiplicidade... Utilizei o que chamo de Método Coreográfico, que é desenvolvido no campo da dança, de modo singular por cada coreógrafo. Para isso coreografo intercessores que no encontro com o pensamento colocam este a pensar, constituindo um texto coreografia. Os intercessores são: 1) Ação dançante: “Não venha me assistir”; 2) A dança como possibilidade de pensar movimentos (texto criado para essa dissertação); 3) O conceito de experiência de si, de Foucault; 4) Os conceitos Criação e Acontecimento, de Deleuze; 5) A obra “Empirismo e Subjetividade: Ensaio sobre a natureza humana segundo Hume”, de Deleuze (com o “entre” e o “encontro”); 6) O conceito de Conceito e Plano de Imanência, da obra “O que é Filosofia”, de Deleuze e Félix Guatarri; 7) Corpo Serial, de Sanchotene; 8) A Educação como modo de docilização dos corpos e, também, como as possibilidades de criação, problematizando o corpo que se torna e o corpo que se vem a ser. Com isso é possível dizer que o “corpo a dançar” não é visível, palpável, quantificável, identificável, não se pode classificá-lo, representá-lo, aprendê-lo. O “corpo a dançar” não acaba com a educação de corpos, pois é nos próprios corpos educados que os encontros, o ato de pensar, o acontecimento, o movimento produzem vazamentos... Essas são algumas condições em que o “corpo a dançar” pode se dar como acontecimento. O que se pode afirmar é que ele se dá no “entre”, como condição para o vir a ser de muitos corpos, para a criação, para produzir diferença, para manter o movimento infinito, para colocar o pensamento a dançar, seja no campo da educação ou no campo da dança. Sendo um corpo de e, e, e, e... / This research develops in the field of Education traversed by dancing in Post-structuralist perspective, the difference with the philosophies of Gilles Deleuze and Michel Foucault. Thus, an infinite deal of movement that can occur between education and creation of bodies to constitute itself as a possibility to educate yourself in the moment of a dancing life. Having such problem: How to live the constitution of different bodily intensities in a bodily materiality, when much of what we learn is to become a stable, fixed body docile for certain practices, representations in thought? From there, outlined the purpose of composing the concept “body dancing”, to account for issues that emerge between education and creation of bodies between subjects and subjectivities, between measurable and immeasurable, between representations and events ... A choice was made by the authors seek to Michel Foucault, the body as a surface of inscription of events, and also a docile body by different practices, so as to deal with an experience of itself. Gilles Deleuze, seek the event as a result of the bodies and their actions, one that forces you to think in the meetings that take place in “between” - creation. The concepts used are more coherent, “Creation” and “Between”, Deleuze, both crossed by concepts: event, becoming, thinking, imagination, meeting, multitude ... I used what I call Choreographic Method, which is developed in the field of dance in a unique way by each choreographer. For this choreographer intercessors that the meeting with the thought put this thinking, constituting a choreography text. Intercessors are: 1) Action danceable “Do not come watch me”; 2) The ability to think like dance movements (text created for this dissertation); 3) The concept of experience itself, of Foucault; 4) Creation and The Happening, Deleuze’s concepts; 5) The work “Empiricism and Subjectivity: An Essay on human nature Hume”, Deleuze (to think the “between” and “meeting”); 6) The concept of Concept Plan and Immanence, the book “What is Philosophy” Deleuze and Félix Guattari; 7) Serial Corps of Sanchotene; 8) Education as a way of docile bodies and also the possibilities for creating, discussing the body and becomes the body that comes into being. With this it is possible to say that the “body dancing” is not visible, tangible, quantifiable, identifiable, one can not classify it, represent it, learn it. The “dancing body” does not end with education bodies, because it is in their own bodies educated that the meetings, the act of thinking, the event, the motion produce leaks ... These are some conditions in which the “body dancing “event as it can go. What can be said is that it gives the “between”, as a condition to become many bodies, to create, to produce difference, to keep the infinite movement, to put thought to dance, both in the field education or in the field of dance. As a body of e, e, e, e ...

Esta pesquisa trata do desenho e do desenhar com linhas no campo da Educação e das Artes na perspectiva das Filosofia da Diferença, e, pensa com a vida do Professor-artista, que é aquele que experimenta o desenhar tanto em sala de aula/vida professoral quanto em sua vida de artista/criador. Toma como problema questões que levam a pensar, como produzir vazamentos na representação do desenhar da figura humana para criar fazendo uso de técnicas de desenho. Por isso tem-se por objetivo criar com o desenhar, com a intenção de mostrar como fazer uso dos acontecimentos, acidentes, erros e catástrofes como potência para a criação. Desse modo, busca-se metodologicamente investir na experimentação criando/pensando com linhas, tanto na escrita quanto no desenhar. Fala-se em “com” por pensar/criar com as próprias linhas que são produzidas em processos de experimentação. Seja, com Linhas DeZenhantes, dando forma, volume, textura ao compor Figuras que tentam não se fixar em modelos ou representações idealizadas. Linhas essas usadas na criação de desenhos que não se tratam de figuras humanas, mas que podem sugerir imagens de partes do corpo humano. Seja, também, com Linhas de Escrita, ao produzir escritas poéticas juntamente com as Linhas DeZenhantes, levando em consideração que a escrita neste processo de experimentação também vem a ser desenho. Criar/Pensar/Experimentar nesta pesquisa se dá com a noção de intercessores de Gilles Deleuze, além de outros de seus textos, produzindo nos encontros com obras variadas de Francis Bacon, Giacometti e Van Gogh, algumas pranchas de Frank H. Netter, Sandra Corazza, Paola Zordan, entre outros. Com isso compõem-se desenhos nomeados nesta pesquisa como Figura corpo. Assim, com o próprio desenhar em contato com os materiais escolhidos para a produção dos desenhos, se compõe com estas diferentes linhas, num devir-tecelão. São tecidas Figuras corpo com o traçar de linhas diagramáticas, rotas nômades sobre territórios que ziguezagueiam entre paisagens ora familiares, ora desconhecidas, criando e vindo a criar com os percursos de desenhar-escrever/escrever-desenhar. / This research deals with the drawing and draw with lines in the field of Education and the Arts in view of the difference of philosophy, and thinks with the life of the teacher-artist who is one who experiences the draw both in the classroom / life professorial as in your life of artist / creator. It takes as problem issues that lead to think, how to produce leaks in the representation of the human figure drawing to create making use of drawing techniques. So has the objective to create with drawing, with the intention of showing how to make use of events, accidents, mistakes and disasters like power to create. Thus, they seek to invest in methodological experimentation creating / thinking with lines, both in writing and in drawing. There is talk of “with” to think / create with their own lines that are produced in experimental processes. Be with Drawing lines, forming, volume, texture when composing figures that do not hold in models or idealized representations. These lines used in the creation of drawings that are not human figures, but that may suggest parts of the human body images. Also, with writing lines, to produce poetic written together with drawing lines, taking into account that writing in this experimentation process also comes to design drawing. All of this, produce drawings named in this research as body figure. In addition the text of this research made of lines that are crossing, intertwine, are interwoven, missives lines, invented and / or dissertative. Create / Think / Try this search is with the notion of intercessors of Gilles Deleuze, and other of his texts, producing in meetings with various works of Francis Bacon, Giacometti and Van Gogh, some planks of Frank H. NeWtter, Sandra Corazza , Paola Zordan, among others. With that consist drawings named in this research as Figure body. So with the draw itself in contact with the materials chosen for the preparation of the drawings, it is made with these different lines, a becoming-weaver. Figures are woven body with trace of diagrammatic lines, nomadic routes on territories that zigzag between landscapes sometimes family, sometimes unknown, creating and been creating with the paths of drawing-write / write-draw.

Esta pesquisa trata do desenho e do desenhar com linhas no campo da Educação e das Artes na perspectiva das Filosofia da Diferença, e, pensa com a vida do Professor-artista, que é aquele que experimenta o desenhar tanto em sala de aula/vida professoral quanto em sua vida de artista/criador. Toma como problema questões que levam a pensar, como produzir vazamentos na representação do desenhar da figura humana para criar fazendo uso de técnicas de desenho. Por isso tem-se por objetivo criar com o desenhar, com a intenção de mostrar como fazer uso dos acontecimentos, acidentes, erros e catástrofes como potência para a criação. Desse modo, busca-se metodologicamente investir na experimentação criando/pensando com linhas, tanto na escrita quanto no desenhar. Fala-se em “com” por pensar/criar com as próprias linhas que são produzidas em processos de experimentação. Seja, com Linhas DeZenhantes, dando forma, volume, textura ao compor Figuras que tentam não se fixar em modelos ou representações idealizadas. Linhas essas usadas na criação de desenhos que não se tratam de figuras humanas, mas que podem sugerir imagens de partes do corpo humano. Seja, também, com Linhas de Escrita, ao produzir escritas poéticas juntamente com as Linhas DeZenhantes, levando em consideração que a escrita neste processo de experimentação também vem a ser desenho. Criar/Pensar/Experimentar nesta pesquisa se dá com a noção de intercessores de Gilles Deleuze, além de outros de seus textos, produzindo nos encontros com obras variadas de Francis Bacon, Giacometti e Van Gogh, algumas pranchas de Frank H. Netter, Sandra Corazza, Paola Zordan, entre outros. Com isso compõem-se desenhos nomeados nesta pesquisa como Figura corpo. Assim, com o próprio desenhar em contato com os materiais escolhidos para a produção dos desenhos, se compõe com estas diferentes linhas, num devir-tecelão. São tecidas Figuras corpo com o traçar de linhas diagramáticas, rotas nômades sobre territórios que ziguezagueiam entre paisagens ora familiares, ora desconhecidas, criando e vindo a criar com os percursos de desenhar-escrever/escrever-desenhar. / This research deals with the drawing and draw with lines in the field of Education and the Arts in view of the difference of philosophy, and thinks with the life of the teacher-artist who is one who experiences the draw both in the classroom / life professorial as in your life of artist / creator. It takes as problem issues that lead to think, how to produce leaks in the representation of the human figure drawing to create making use of drawing techniques. So has the objective to create with drawing, with the intention of showing how to make use of events, accidents, mistakes and disasters like power to create. Thus, they seek to invest in methodological experimentation creating / thinking with lines, both in writing and in drawing. There is talk of “with” to think / create with their own lines that are produced in experimental processes. Be with Drawing lines, forming, volume, texture when composing figures that do not hold in models or idealized representations. These lines used in the creation of drawings that are not human figures, but that may suggest parts of the human body images. Also, with writing lines, to produce poetic written together with drawing lines, taking into account that writing in this experimentation process also comes to design drawing. All of this, produce drawings named in this research as body figure. In addition the text of this research made of lines that are crossing, intertwine, are interwoven, missives lines, invented and / or dissertative. Create / Think / Try this search is with the notion of intercessors of Gilles Deleuze, and other of his texts, producing in meetings with various works of Francis Bacon, Giacometti and Van Gogh, some planks of Frank H. NeWtter, Sandra Corazza , Paola Zordan, among others. With that consist drawings named in this research as Figure body. So with the draw itself in contact with the materials chosen for the preparation of the drawings, it is made with these different lines, a becoming-weaver. Figures are woven body with trace of diagrammatic lines, nomadic routes on territories that zigzag between landscapes sometimes family, sometimes unknown, creating and been creating with the paths of drawing-write / write-draw.

Essa pesquisa se desenvolve no campo da Educação atravessada pela dança na perspectiva Pós-Estruturalista, com as filosofias da diferença de Gilles Deleuze e Michel Foucault. Com isso, trato de um movimento infinito que pode se dar entre a educação e criação de corpos para a constituição de si, como possibilidade de educar a si mesmo nos instantes de uma vida dançante. Tendo como problema: Como viver a constituição de diferentes intensidades corpóreas, em uma materialidade corporal, quando muito do que se aprende é para se tornar um corpo fixo, estável, docilizado para determinadas práticas, representações no pensamento? A partir disso se traçou o objetivo de compor o conceito “corpo a dançar”, para dar conta de questões que emergem entre a educação e criação de corpos, entre sujeitos e subjetivações, entre mensuráveis e imensuráveis, entre representações e acontecimentos... A escolha dos autores se deu por buscar em Michel Foucault, o corpo como superfície de inscrição dos acontecimentos, e também um corpo docilizado por diferentes práticas, para assim tratar de uma experiência de si. Com Gilles Deleuze, busco o acontecimento como resultante dos corpos e de suas ações, aquele que força a pensar nos encontros que se dão nos “entres” - criação. Os conceitos utilizados mais operantes são “Criação” e “Entre”, de Deleuze, ambos atravessados pelos conceitos: acontecimento, devir, pensar, imaginação, encontro, multiplicidade... Utilizei o que chamo de Método Coreográfico, que é desenvolvido no campo da dança, de modo singular por cada coreógrafo. Para isso coreografo intercessores que no encontro com o pensamento colocam este a pensar, constituindo um texto coreografia. Os intercessores são: 1) Ação dançante: “Não venha me assistir”; 2) A dança como possibilidade de pensar movimentos (texto criado para essa dissertação); 3) O conceito de experiência de si, de Foucault; 4) Os conceitos Criação e Acontecimento, de Deleuze; 5) A obra “Empirismo e Subjetividade: Ensaio sobre a natureza humana segundo Hume”, de Deleuze (com o “entre” e o “encontro”); 6) O conceito de Conceito e Plano de Imanência, da obra “O que é Filosofia”, de Deleuze e Félix Guatarri; 7) Corpo Serial, de Sanchotene; 8) A Educação como modo de docilização dos corpos e, também, como as possibilidades de criação, problematizando o corpo que se torna e o corpo que se vem a ser. Com isso é possível dizer que o “corpo a dançar” não é visível, palpável, quantificável, identificável, não se pode classificá-lo, representá-lo, aprendê-lo. O “corpo a dançar” não acaba com a educação de corpos, pois é nos próprios corpos educados que os encontros, o ato de pensar, o acontecimento, o movimento produzem vazamentos... Essas são algumas condições em que o “corpo a dançar” pode se dar como acontecimento. O que se pode afirmar é que ele se dá no “entre”, como condição para o vir a ser de muitos corpos, para a criação, para produzir diferença, para manter o movimento infinito, para colocar o pensamento a dançar, seja no campo da educação ou no campo da dança. Sendo um corpo de e, e, e, e... / This research develops in the field of Education traversed by dancing in Post-structuralist perspective, the difference with the philosophies of Gilles Deleuze and Michel Foucault. Thus, an infinite deal of movement that can occur between education and creation of bodies to constitute itself as a possibility to educate yourself in the moment of a dancing life. Having such problem: How to live the constitution of different bodily intensities in a bodily materiality, when much of what we learn is to become a stable, fixed body docile for certain practices, representations in thought? From there, outlined the purpose of composing the concept “body dancing”, to account for issues that emerge between education and creation of bodies between subjects and subjectivities, between measurable and immeasurable, between representations and events ... A choice was made by the authors seek to Michel Foucault, the body as a surface of inscription of events, and also a docile body by different practices, so as to deal with an experience of itself. Gilles Deleuze, seek the event as a result of the bodies and their actions, one that forces you to think in the meetings that take place in “between” - creation. The concepts used are more coherent, “Creation” and “Between”, Deleuze, both crossed by concepts: event, becoming, thinking, imagination, meeting, multitude ... I used what I call Choreographic Method, which is developed in the field of dance in a unique way by each choreographer. For this choreographer intercessors that the meeting with the thought put this thinking, constituting a choreography text. Intercessors are: 1) Action danceable “Do not come watch me”; 2) The ability to think like dance movements (text created for this dissertation); 3) The concept of experience itself, of Foucault; 4) Creation and The Happening, Deleuze’s concepts; 5) The work “Empiricism and Subjectivity: An Essay on human nature Hume”, Deleuze (to think the “between” and “meeting”); 6) The concept of Concept Plan and Immanence, the book “What is Philosophy” Deleuze and Félix Guattari; 7) Serial Corps of Sanchotene; 8) Education as a way of docile bodies and also the possibilities for creating, discussing the body and becomes the body that comes into being. With this it is possible to say that the “body dancing” is not visible, tangible, quantifiable, identifiable, one can not classify it, represent it, learn it. The “dancing body” does not end with education bodies, because it is in their own bodies educated that the meetings, the act of thinking, the event, the motion produce leaks ... These are some conditions in which the “body dancing “event as it can go. What can be said is that it gives the “between”, as a condition to become many bodies, to create, to produce difference, to keep the infinite movement, to put thought to dance, both in the field education or in the field of dance. As a body of e, e, e, e ...

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-05T13:42:40Z No. of bitstreams: 1 marinafurtadoterra.pdf: 2309152 bytes, checksum: 13599d1abd489d054c34feabde7d16ae (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:25:40Z (GMT) No. of bitstreams: 1 marinafurtadoterra.pdf: 2309152 bytes, checksum: 13599d1abd489d054c34feabde7d16ae (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:25:50Z (GMT) No. of bitstreams: 1 marinafurtadoterra.pdf: 2309152 bytes, checksum: 13599d1abd489d054c34feabde7d16ae (MD5) / Made available in DSpace on 2016-07-13T16:25:50Z (GMT). No. of bitstreams: 1 marinafurtadoterra.pdf: 2309152 bytes, checksum: 13599d1abd489d054c34feabde7d16ae (MD5) Previous issue date: 2012-03-30 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / O presente trabalho se propõe a investigar pistas para problematizar a noção de espaço na Educação. Para isso são realizados, fundamentalmente, três exercícios: o de problematizar o conceito de espaço; o de cartografar um bairro da cidade mineira de Juiz de Fora se produzindo como espaço educativo, junto a um projeto em ação neste bairro; e, ainda, o exercício de construção da escrita da dissertação. A noção de espaço hegemônica na modernidade exclui elementos do sensível e suas singularidades, vivenciados no cotidiano. Investir na noção de devir-criança do espaço proporcionou visibilidade aos acontecimentos. Este exercício cartográfico se mostrou um campo fecundo de investigação e buscou ampliar encontros para um exercício de pensamento que impulsionasse a produção de conhecimento. Vai-se à esteira do pensamento da diferença com o francês Gilles Deleuze, que a partir da abertura do alemão Friedrich Nietzsche, propõe o conhecimento não como fruto da relação de sujeito/objeto, e sim, como efeito de relações de forças, que por sua vez configuram modos de existir. Que modos outros de existir estão se configurando? Investe-se numa configuração de forças que se distancia de uma certa noção moderna de espaço e, com isto, propõe-se compor uma reflexão sobre os desafios da educação da e na atualidade. / The present study aims to investigate clues to problematize the notion of space in education. To this are made, essentially, three exercises: to problematize the concept of space, the mapping of a mining district in the city of Juiz de Fora is producing as educational space, along with a project at work in this neighborhood, and also the building exercise of writing the dissertation. The notion of space in modern hegemonic rule of the sensitive elements and their singularities, experienced in everyday life. Investing in the notion of becoming-child of the space provided visibility to events. This mapping exercise has proved a fertile field for research and sought to expand to meet a thinking exercise that boosts the production of knowledge. Go to the mat with the thought of the difference Frenchman Gilles Deleuze, who from the opening of the German Friedrich Nietzsche proposes knowledge not as a result of the relationship of subject / object, but rather as an effect of power relations, which turn shape modes to exist. What other ways are there setting? Invests in a setting that forces a certain distance of the modern notion of space and, thus, intends to write a reflection on the challenges of education and at present.

Games as a medium is about to change, and with this change comes a search for themes outside the normal range of what is seen as acceptable in the medium. In this paper we, Michael Levall and Carl Boström, use debate and Socratic dialogue to portray the value of looking at a topic from several different angles, with the topic of choice for this project being life philosophies. During production, we create a game which sets out to affect its player even after he or she has finished playing it, possibly teaching the player the value of looking at a problem from different perspectives. Playtests conclude that in order to affect the player, the game should be catered to the player’s skill in interpreting games, and interpretable design can be used to affect how influenced the player is by the game. / Spel som ett medium håller på att förändras, och med dess ändringar kommer sökandet efter nya teman utanför det som idag ses som acceptabelt inom mediet. I detta arbete använder vi, Michael Levall och Carl Boström, debatt och Sokratisk dialog för att porträttera värdet av olika synvinklar, med livsåskådningar som tema. Under produktionen skapar vi ett spel som syftar till att påverka dess spelare även efter det att han eller hon har spelat klart det, med möjligheten att lära spelaren värdet av att se ett problem från olika vinklar. Speltester visar att för att påverka spelaren bör spelet möta spelarens skicklighet att tolka spel, och hur tolkningsbar design kan användas för att påverka hur påverkad spelaren blir av spelet. / Detta är en reflektionsdel till en digital medieproduktion.

Doctor of Philosophy / Curriculum and Instruction Programs / F. Todd Goodson / This qualitative case study examined how successful professors who were awarded the Coffman Chair for University Distinguished Teaching Scholars at Kansas State University describe their teaching experiences, philosophies, and best practices in undergraduate teaching and learning. Educators today is concerned about what are the best practices to educate new generation students to survive in a rapidly changing world. Additionally, because most research focus on best practices on the implementation or evaluation of a specific methodology, method, or strategy in one particular course or program, this research addressed the need to investigate the teaching experiences, philosophies, and best practices of outstanding award winner professors in different areas to understand the challenges they face and the ways they handle undergraduate teaching and learning. This qualitative case study was informed by Critical Theory as the theoretical framework, grounded in Constructivism, because critical theory cares about social justice while abandoning obsolete, elitist and antidemocratic features of traditional concepts of education. Eight distinguished teaching scholars, who belong to Psychological Sciences, School of Integrated Studies, Political Sciences, Horticulture and Natural Resources, Modern Languages, English, Physics, and Anthropology and Social Work Departments voluntarily participated in this study. Multiple methods were used to collect data including demographic questionnaires, semi-structured interviews (time line elicitation interviews, formal interviews, and photo elicitation interview), analysis of documents, and journaling. Seven themes emerged from my findings. The first theme identified the influential people and struggles encountered by professors when they were students. The second identified events that led professors in choosing their major, why they became teachers, and their teaching strengths and passions. The third identified the challenges they face when teaching undergraduate students and mentoring support received as professors. The forth identified how participants described themselves as successful professors and the way they organize and balance their academic and personal life. The fifth identified specific educational theories the professors apply in their teaching, the insights of their teaching philosophies, and their thoughts about the importance of education. The sixth identified the way professors decide the curriculum to teach and the way they evaluate their students. Finally, the seventh theme identified the significant work they did as recipients of the Coffman Chair for University Distinguished Teaching Scholar, and their teaching best practices. Recommendations for practice and future research were also addressed. Thus, this study contributes to the understanding of teaching experiences, philosophies, and best practices of successful professors in undergraduate teaching and learning, based on evidence which is the personal experiences of the participants for the benefit of every person involved in education

abstract: Indigenous Pueblo conceptualization of living well today has shifted mainly due to Federal policies that forced Pueblo people to conform to western way of living moving away from a lifestyle that embraced holistic practices. Native people cannot escape how Western society has shaped the concept of health however, the voices of the Pueblo people and others working in health, acknowledged that Indigenous philosophies, beliefs and practices need to be part of Native health conversations today. My discussion problematizes Native health characterized today as typically represented through the biomedical perspective with the primary focus being the body. Such a limiting perspective dismisses the importance of Indigenous philosophies that embraces broader concepts of well-being to include holistic elements of physical, mental, emotional and spiritual well-being. This study examines the shift in perceptions seeking input from patient and medical providers regarding their interactions, particularly communications in a healthcare setting. Pueblo patients defined what was important in their communications with their health provider. Likewise, health providers referred to their experiences providing healthcare to Native patients to describe what is important to know when treating a Pueblo patient. Patients identified family (without specific medical family histories disclosed), knowledge/beliefs that were or were not associated to the patient’s culture, as well as community and family dynamics (that did not delve into traditional medicine or sacred ceremonial activities) as important for their provider to know. The results from the research study highlights the need to examine Native American cultural diversity education in healthcare including advancing improvements in the training of medical providers. / Dissertation/Thesis / Doctoral Dissertation Social Justice and Human Rights 2020

There has been growing recognition in recent environmental discourse that environmental justice, which is normally understood to mean the disproportionate effect of climate change on minority groups, also takes the form of epistemic injustice. In the Canadian context, this means the exclusion of Indigenous philosophies, values, and perspectives from discourse about environmental ethics, as well as the spheres of policy and governance as they pertain to the environment. At the same time, there has been increasing concern with creating just outcomes for future people. Given that future generations have made no contribution to the pollution that causes climate change, but will feel its worst effects, many environmental and political philosophers have recently pointed to the need for a strong theory of intergenerational justice, especially as it pertains to the environment. In this thesis, I argue that an essential part of achieving intergenerational environmental justice in Canada is working toward the rectification of both material and epistemic harms toward Indigenous peoples which are perpetuated by the “rationalistic” conception of nature which sees nature as an instrumentally valuable resource to be exploited for human gain. I explore the historical construction of this conception of nature and its pervasiveness in recent work on environmental ethics in order to show how Indigenous perspectives have historically been suppressed through colonialism, and more recently been subjected to epistemic oppression within Western environmental ethics. I then focus specifically on intergenerational environmental justice as a field in which Indigenous philosophies have faced the greatest exclusion, and may also have the most to teach us. I conclude by providing a brief overview of recent Indigenous environmental activism as an expression of Indigenous values, and look to treaties as understood by Indigenous philosophies as a potential framework for moving together toward a just future for all.

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