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Master's Dissertation
DOI
Document
Author
Full name
Pedro Luis Braga Silva
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Zimmermann, Ana Cristina (President)
Pereira, Marcelo de Andrade
Soler, Marcos Marcelo
Title in Portuguese
Performances do professar: todo professor tem um pouco de ator
Keywords in Portuguese
Antropologia da educação
Estética
Estudos da performance
Fenomenologia
Formação de professores
Abstract in Portuguese
Este texto disserta sobre as performances do professar, isto é, sobre as diversas maneiras através das quais os professores representam ou performam o seu papel social na escola. Ensinar é uma performance (Schechner, 2002, 2010; Pereira, 2010, 2013; Icle, 2010, 2013) e performar o ensino é ativar o processo de construção do conhecimento, através da agência dos corpos, em seus gestos, olhares, voz, ocupação do tempo e do espaço públicos em sala de aula. Partindo da provocação de Suassuna de que todo professor tem um pouco de ator, essa dissertação vale-se de pesquisa qualitativa e, através de revisão bibliográfica, entrevistas e de hermenêutica comparativa, investiga algumas dimensões estéticas da aula enquanto experiência: o corpo do professor como subjetividade encarnada (Pineau, 2010, 2013); a aura (Benjamin, 2009, 2013) do professar e a construção da sua autoridade; as performancespalestras e a Transpedagogia (Helguera, 2010, 2011) como gêneros híbridos de arte e ensino. Performance e Ensino são ambos vistos aqui como desdobramentos de processos miméticos, dramas sociais e rituais liminares (Gusdorf, 2003; Wulf, 2005, 2013; Turner, 2013; McLaren, 1991, 2002), variações de uma raiz antropológica comum, cujo cerne é a necessidade humana de narrar a experiência para aprender com o passado e superar a morte. Valendo-nos sempre de um pensamento fenomenológico (Merleau-Ponty, 1999, 2004) e Crítico (Hooks, 2018; Freire, 2011; Racière, 2002, 2009, 2017) sobre a educação e a arte, o que se busca, em última instância, é propor, como professores, reflexões para que possamos não apenas sobreviver às opressões da escola, mas também reinventar os modos de fazer uma educação como prática da liberdade. Ao cabo, veremos que a provocação de Suassuna tem sustentação teórica e pode ainda apontar caminhos para uma nova estética pedagógica, que passe pelo corpo e por novas maneiras de performar o ofício do professor.
Title in English
Professings performances: every teacher has something of an actor
Keywords in English
Aesthetics
Antropology of education
Fenomenology
Performance
Teachers training
Abstract in English
This text disserts about the professings performances, that is, about the different ways in which teachers represent or perform their social roles in the school. Teaching is a performance (Schechner, 2002, 2010; Pereira, 2010, 2013; Icle, 2010, 2013) and to perform it is to activate the process of knowledge construction, through the agency of bodies, in their gestures, looks, voice, occupation of time and space in the classroom. Starting from Suassuna's provocation that 'every teacher has something of an actor', this dissertation is based on qualitative research and, through bibliographical review, interviews and comparative hermeneutics, it investigates some aesthetic dimensions of the class as experience: the body of the teacher as an embodied subjectivity (Pineau, 2010, 2013); the aura (Benjamin, 2009, 2013) of professing and the construction of his authority; the performance-lectures and the Transpedagogy (Helguera, 2010, 2011) as hybrid genres of art and teaching. Performance and Teaching are both seen here as unfolding of mimetic processes, social dramas and liminal rituals (Gusdorf, 2003; Wulf, 2005, 2013; Turner, 2013; McLaren, 1991, 2002), variations of a common anthropological root, whose core is the human need to narrate the experience to learn from the past and overcome the death. Always using a phenomenological (Merleau-Ponty, 1999, 2004) and critical (Hooks, 2018; Freire, 2011; Racière, 2002, 2009, 2017) thinking on education and art, what is ultimately sought is to propose, as teachers we are, reflections to not only survive the school and its oppressions, but also reinvent the ways of doing an education as practice of freedom. In the end, well see that Suassunas provocation has theorical props, as it may point out the ways for a new pedagogic aesthectics, passing throught the body and by new performances of the professing.
 
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Publishing Date
2019-10-16
 
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