O desenvolvimento profissional docente em discussão

This collection is the result of theoretical considerations made in the education field with emphasis on the teacher’s professional development. The diversity of authors, which came from distinctive higher education institutions located in Brazil and some arising from international context, reveals a multiplicity of relations between the themes that blend the centrality of “Rede de Aprendizado em Foco”. The studies and researches are organized around three themes: teacher’s learning in initial training and professional integration; teacher learning’s evaluations process and policies; and teacher’s professional development. The professionality’s formation in a period of deep and complex transformations in the social and educational scenarios is projected as a big challenge, especially when it is understood that a person is not born as a teacher, but it is constituted as such by processes that occur over a long period. The contact with the professional practice stands as an essential element in the context of teacher training, which in the course of professional learning experience different stages of training. The one that should be highlighted would be the learning moments that involve teaching’s practices. Thus, the main point of this work was based on the reflection of the teacher’s formative processes from the initial training to the professional development going through the teaching practice, which is considered as the beginning of the relationship between theoretical and practical knowledge in the context of educational reality and reporting formative experiences that have contributed to this training.

A narrativa histórica de Alexandre Wollner sobre o design brasileiro em sua relação com arte, indústria e tecnologia

This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.